Homes & Living magazine Vancouver Island June/July 2014 by Homes & Living Magazine (H&L Magazine)

june/july 2014

VA N CO U V E R I S L A N D

ARCHITECTURE ISSUE THE ANATOMY OF OUR BUILT ENVIRONMENT

H&L’S FEATURE HOME

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MONTECITO RESIDENCE INSPIRED BY ITS ENVIRONMENT | JANN ARDEN KEEPING IT REAL | FRANK GEHRY DEFYING DEFINITION

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CONTENTS HOMES

H&L VANCOUVER ISLAND JUNE/JULY 2014

24 H&L’S

ARCHITECTURE ISSUE HOMES 24 FAR OUT HOMES: MONTECITO RESIDENCE

Inspired by its Environment By Goody Niosi

34 ICONIC ARCHITECTURE: FRANK GEHRY Defying Definition By Hadani Ditmars

40 DESIGNER PROFILE: LYNN CLARKE Starting with the Nuts and Bolts By Jessica Krippendorf

44 FEATURE HOME: ELANGENI Where the Sun Shines Through By Jessica Krippendorf

52 DEFINING ICONIC

What Does it Mean and How is it Influencing Contemporary Architecture By Danielle Metcalfe-Chenail

60 HIGH PERFORMANCE HOMES What’s New in Eco Architecture and Design By Danielle Metcalfe-Chenail

64 CHRISTOPHE CARPENTE Telling the Story of Retail Design By Claudia Kwan

68 CORNELIA HAHN OBERLANDER Following Her Own Path By Claudia Kwan

72 IN THE DRIVER’S SEAT Historical and Contemporary Architectural Influence on Modern Design By Ben Vorst

FEATURE HOME

I N T ER I O R S

JUNE/JULY 2014

I NTE RI O R S

CONTENTS LIVING

H&L VANCOUVER ISLAND JUNE/JULY 2014

76 LIVING 18 CELEBRITY PROFILE: JANN ARDEN Keeping it Real By Michelle van der Merwe

76 EXPRESSIONS: JANET ECHELMAN A Force of Nature By Laura Goldstein

80 TRANSFORMATIONS: THE SALT BUILDING Contemplating the Past; Toasting the Future By Hadani Ditmars

84 COMMUNITY CHARACTER: VICTORIA’S ARCHITECTURE A Mirror of Cultural Diversity By John Adams

94 WEB EXCLUSIVES By Jaclyn Dean and Doug Parkhurst

96 LOOKING FORWARD

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EDITOR’S MESSAGE

When you arrive in a city that you have never visited before, what is the first thing you do? A friend of mine recently admitted that she is always curious about whether people ever purposely get lost in a city and why they might do that. Personally, when I arrive in a city I love to just wander around, get a little bit lost and investigate my surroundings—even in places where I have lived or visited before—because I love exploring and getting a feel for how people live in a particular place. The world’s built environments—the human-made space in which people live, work and recreate on a day-to-day basis—say a lot about the people who inhabit them; their history, their culture, their values and where they might be headed. It’s an expression of what people see as their place in the world and you can learn a lot from the architecture of a community and how people respond to it. There is so much to say about architecture that we couldn’t possibly fit it all into one magazine, but we wanted to introduce you to some amazing architects and take a look at how their work influences our daily lives and how the way we live impacts our built environment in turn.

So, just as we invite you to purposely get lost amidst the pages of H&L’s first Architecture issue, we remind you to explore, investigate and enjoy your surroundings—both new and familiar. You never know what you might discover. (It might even be Jann Arden.) Sincerely,

Michelle van der Merwe, EDITOR-IN-CHIEF

Canadian Society of Magazine Editors member Editors’ Association of Canada, Director of Communications Magazine Association of BC, Board of Directors Member-at-Large

Your letters and comments are always welcome at editor@hlmagazine.com

JUNE/JULY 2014

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Publisher & Founder Robert Read | robert@readmedia.ca Editor-In-Chief Michelle van der Merwe Creative Director/Art Director Karla Peckett Graphic Design Iina Valila Assistant to the Editor-In-Chief Katy Togeretz Social Media/Office Admin Katelin Raiche Accounts Kathleen Sebastian Accountant Douglas Parkhurst, CA Director of Newsstand Sales & Marketing Craig Sweetman Contributing Photographers Ema Peter Jen Steele Tony Puerzer Contributing Writers Ben Vorst Claire Newell Claudia Kwan Courtney Rosborough Danielle Metcalfe-Chenail Doug Parkhurst Goody Niosi Jaclyn Dean Jessica Krippendorf John Adams Laura Goldstein Lisa Monforton Nora O’Malley Robin Schoffrel Tony Whitney Homes & Living Vancouver 604.682.4000 Toll Free: 1.855.myHLmag (694.5624)

Letters to the Editor Homes & Living (H&L) welcomes your comments, questions and opinions. Send your letters via email to editor@hlmagazine.com H&L on Newsstands Current issues of H&L can be found on most major newsstands. H&L Displays Back issues can be found online at HLmagazine.com or on H&L displays at advertiser show rooms in your area. Subscription Services Subscribe to H&L today and receive a one year subscription for $31.28 (plus applicable tax). Visa/MasterCard accepted Phone: 1.855.myHLmag (694.5624) Online: HLmagazine.com Email: subs@HLmagazine.com 2014 Publication Schedule Homes & Living Vancouver Island: six times per year Homes & Living Vancouver: six times per year Homes & Living Calgary: six times per year All rights reserved. No part of Homes & Living may be reproduced or transmitted in any form without the expressed written consent of the publisher. The publisher reserves the right to accept or reject any editorial or advertising matter. Homes & Living is a registered trademark of READ media inc. with the Canadian Intellectual Property Office of Canada. Trademark registration number TMA799,399. Any use of trademark, without the publisher’s written consent, is strictly prohibited. Canada Post Publications Mail Agreement - 41950525

Homes & Living Vancouver Island Toll Free: 1.855.myHLmag (694.5624) Homes & Living Calgary Toll Free: 1.855.myHLmag (694.5624) VP of Sales & Operations – Vancouver Julie Hamilton | julie@readmedia.ca Account Manager - Vancouver Robyn Tucker-Peck | robyn@readmedia.ca Account Manager – Alberta Karen Keveryga | karen@readmedia.ca

Starts beautiful. Stays beautiful.

Homes & Living magazine is pleased to be a member of these outstanding associations:

CORPORATE OFFICE: READ media inc. Publisher of Homes & Living magazine 105, 267 West Esplanade North Vancouver, BC V7M 1A5 Tel: 604.682.4000 Toll Free: 1.855.myHLmag (694.5624) Fax: 604.770.2058 © copyright 2008-2014 READ media inc.

CORRECTION: On pg. 47-48 of H&L’s Apr/May issue the photographs for The Greatest Wedding Gift are by Jen Steele Photography.

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JUNE/JULY 2014

FEATURED CONTRIBUTORS BEN VORST Ben Vorst is an arts, sports and lifestyle writer trapped in the body of a healthcare administrator. His passions include international politics, baking and the great outdoors. He has posed as a carpenter, bartender and humourist, but nobody has caught on—yet.

CLAUDIA KWAN Claudia Kwan is a Vancouver-based journalist who works in all mediums. Over the past decade, she has reported for outlets such as the Vancouver Sun, Global Television, CBC Radio, and openfile.ca. While she still loves chasing down breaking news, a significant part of her heart is reserved for her love of stories involving real estate, food and wine.

DANIELLE METCALFE-CHENAIL Danielle Metcalfe-Chenail is an award-winning writer and historian who publishes articles, essays and poetry online and in print. She is the author of For the Love of Flying: The Story of Laurentian Air Services and Polar Winds: A Century of Flying the North (September, 2014). Danielle was writer-in-residence at Berton House in Dawson City, YT during a serious cold snap in 2010 and will be exploring Edmonton’s past as the city’s Historian Laureate for the next two years.

GOODY NIOSI Goody Niosi is a former film director, scriptwriter and editor. She has been writing for newspapers and magazines since 1990 and also has six published books to her credit including The Romance Continues, the biography of well-known artists Nixie Barton and Grant Leier. She lives in the countryside on Vancouver Island where she is working on her next book.

JESSICA KRIPPENDORF Jessica Krippendorf is a freelance writer and editor based on Vancouver Island. She studied creative writing and publishing at Vancouver Island University, but has been writing professionally since she was old enough to run a typewriter. She writes about construction, architecture, design and sustainable, playful living for publications across North America.

For a complete list of contributors, visit HLmagazine.com 16

JUNE/JULY 2014

CELEBRITY PROFILE

EXCLUSIVE NEWS AND INTERVIEWS

JANN

KEEPING IT REAL

WORDS BY MICHELLE VAN DER MERWE PHOTOGRAPHS BY EMA PETER CREATIVE DIRECTION BY KARLA PECKETT

Canadian music icon Jann Arden is a gorgeous, smart, funny woman with a huge heart and immense talent. But she is not perfect and she’d be the first person to admit it. “I like people that, if you give them a little shake, little pieces break off of them—because they’re real,” says Arden. Betty Davis, Joan Crawford, Elizabeth Taylor—they are all broken in some way—but Arden loves strong women like them. “Adversity makes people really interesting. If you’re not failing you’re not living and that’s just the way I feel about it, although I don’t mean to sound dramatic.” A friend of Arden’s told her, “Jann, make sure that you’re living your eulogy and not your resume.” A sentiment that she has taken to heart and tries to live in everything she does. “I just love the way she put it,” says Arden of her friend’s advice. It means thinking about “all the things that make a life. You wouldn’t put that you love walking the dog on your resume.” But Arden does love walking her dog, Midi, who’s always right with her, watching her like a periscope. “I haven’t peed alone for five years,” Arden says. “She’ll find me wherever I am.” In order to really live your eulogy you sometimes have to push boundaries—something

that producer Bob Rock encouraged her to do on her new album—Everything Almost. “I think Bob was just having me walk a little farther out to the end of the plank. It wasn’t a fun record to make, I will say that.” Once the album was finished Arden realised she had been playing it safe. Rock pushed her to push herself beyond where she thought she could go. “I must have heard my name eight million times,” she says. “‘Jann, Jann, Jann—do you trust me?’ Not really.” Arden admits the process was a very humbling experience but the result is an album on which she “really sings.” When her record company remarked that they had never heard her sing like that before she told them “well, there’s a reason for that—I don’t.” Well, she may not have ever sung like this before but Arden has still earned 19 Top Ten singles and eight Juno awards over the years, along with many other accolades. But even with all her success she has remained close to her Alberta roots. “I just feel like I belong here. It’s what I know,” she says. “I travel all over the world and then I get back and its ‘oh, thank heavens.’” “Home is important. I know that some people struggle with what that means to them and I’m glad that I know that now.”

JUNE/JULY 2014

“ WHEN I GET HOME—IT’S SUCH A GROUNDING, RELAXING THING. I JUST CAN’T PICTURE ANYTHING ELSE.” — Jann Arden

Below. Jann Arden’s playful nature shines through even when she is being photographed; an aspect of her career which she doesn’t actually enjoy although you would never know it.

She’s very close to her parents. In fact, they live about fifty feet from her in what was supposed to be a little granny cottage—it’s 2,200 square feet. To Arden, her Springbank, Alberta home is everything she has ever worked for but while she’s extremely proud of her home, she doesn’t like to be boastful. “I lease a car. I’m not a clotheshorse—I’ve had this sweater for like twenty years. Those things aren’t important to me but my house ... my contingency plan needed a contingency plan, let’s put it that way.” Her home—situated on an escarpment over the Elbow River—provides amazing views, so she wanted it to have a lot of glass. “I don’t have anyone who can see me so, not that I want to walk around nude—I don’t even do that on my own—but if I had to, to rescue the dog…” Arden’s neighbours are at least a mile away but she says she really feels bad for them. “I rarely have makeup on. They think I’m this old potato farmer lady that lives on the corner there.” After two years of architects telling Arden that she couldn’t build with the glass that she wanted she found another architect who told her she could, if she went with a post-and-beam style. “That could have meant anything to me,” she says. “I’ve since learned it’s like LEGO in the way it’s put together.”

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Above. Arden finds it inspiring to read about the interesting ways in which people are living these days.

Her library/writing room—home to her piano, her books and her “tchotchkes” or little knick-knacks—is her favourite room, with loads of light from the floor-to-ceiling glass. “I just look out to the trees,” she says. “It’s a very organic space and a really fun room to go in. My piano is 124 years old so it’s had a lot of drunk people plunking away on it over the years.” It is a simple room and most of Arden’s favourite pieces of furniture are the ones that her Dad either made or refurbished for her. Four rocking chairs are the result of her parents’ trips to Priddis or Wetaskiwin for “all these crazy sales” after which they would come back with boxes full of parts that disappeared into her Dad’s wood shop. Three months later a beautiful chair would emerge. “Sometimes they’re missing a spindle but Dad can remake them—he has a lathe in his wood shop.” It’s not just missing spindles he makes in his wood shop either. He also made Arden three coffee tables from trees that came down when her home was built. He took all the bark off of them, dried them for two-and-a-half years then varnished and sanded them. “I love them. Everyone who comes to my house wants one of these damn things so my Dad’s got three more drying now.” Since the beginning of her career Arden has titled her albums with a random line from a song, but with Everything Almost it seems almost apropos rather than random. She chose this particular line because she liked the sound and the sentiment of having everything, almost; in life and relationships you sometimes look back after things don’t work out and realise how close to perfection you really were. “Everything. But I’m not quite done yet.” It is an appropriate sentiment because while it may seem that Arden has everything already—family, friends, success—she hasn’t yet reached where she’s going. She’s not done yet. h

THE

PERSONAL SIDE Q&A

JANN ARDEN

HAVE YOU EVER PURPOSELY GOTTEN LOST IN A CITY THAT YOU ARE VISITING? I got lost in Finland many years ago. I left my hotel to go out for a jog and had no clue how to get back. To make things worse, I couldn’t even pronounce the name of my hotel—it took me three hours to find my way home.

HOW DO YOU DEAL WITH CREATIVE BLOCKS? I have never had one.

DO YOU HAVE A FAVOURITE PART OF THE DAY? I love every hour of the day. I really do.

WHAT SINGER/MUSICIAN (DEAD OR ALIVE) WOULD YOU MOST LIKE TO PERFORM WITH IF GIVEN THE CHANCE? Karen Carpenter.

RICK MERCER LIKES TO SEE YOU IN PERIL—WHAT IF THE TABLES WERE TURNED? I don’t know. I always just want to get his body waxed. That’s what I keep thinking. I just want to take him to a Ukranian woman and have his entire body waxed but I guess that’s pain, that’s not peril.

WHAT ARE SOME OF YOUR FAVOURITE CALGARY EATING SPOTS? FARM—love it. I’ve known Janice for thirty years. Living Room’s great. One of my favourites right now is Mercato, on fourth.

Probably Kentucky Fried Chicken, cold, the next day. Or Ritz crackers, Cheese Whiz and dill pickles. My favourite is toasted wheat bread with thick cut old cheddar cheese and very thick Spanish onion, covered in salt and pepper.

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WHAT’S YOUR GUILTY PLEASURE WHEN IT COMES TO FOOD?

FAR OUT HOMES

ASPIRATIONAL GLOBAL DWELLINGS

Viewed from the ocean side, the Montecito Residence appears stark yet ethereal—all steel beams and glass. On closer inspection it might be mistaken for something industrial; even the front door boasts a locking mechanism that you’d more likely find in a bank vault than a home. But that is now. In a few years, a red-tailed hawk or an eagle might fly over the home and not give it a second glance. The steel of the siding and roof will oxidize, and the concrete is toned so that the house will blend more and more into the canyon landscape. The Montecito Residence is a single-family home set in fire-prone Toro Canyon near Santa Barbara. Tom Kundig, multi award-winning architect, principal and owner of Olson Kundig Architects in Seattle said that the house design was dictated by the environmental conditions of the site—sun, fire, wind and the arid landscape. “The owners acquired the site because of the dramatic ocean and mountain views and the privacy afforded by the 10-acre hillside site. The design was a direct response to the site conditions, both the challenges and the opportunities,” said Kundig. He added that prior to the clients acquiring the property, the site had been cleared and levelled, removing any sense of the arid hillside. “We saw our job as healing the site, so for the most part the landscape was restored to a natural state.” The owners also wanted a house that minimized the use of scarce natural resources and that was equal to the challenging environmental conditions. The design solution was to harvest and control the very climatic conditions that put the canyon so at risk for fire: the sun and the wind. The house is made of simple, fire-resistant materials—concrete, steel and glass—while exterior perforated metal screens on its west side can be lowered to provide shade for additional fire protection.

WORDS BY GOODY NIOSI PHOTOGRAPHS BY NIKOLAS KOENIG, TIM BIES AND JIM BARTSCH

MONTECITO RESIDENCE

VIEWED FROM ABOVE, FROM THE SLOPING FOOTHILLS OF SOUTHERN CALIFORNIA’S SANTA YNEZ MOUNTAINS, THE MONTECITO RESIDENCE LOOKS LIKE AN EDIFICE DROPPED FROM AN ALIEN SPACECRAFT—ALL DRAMATIC ANGLES AND SWOOPING ROOFLINES.

JUNE/JULY 2014

INSPIRED BY ITS ENVIRONMENT

Architect: Olson Kundig Architects Completed: 2007 | Project Size: 3,132 sq. ft. | Project Location: Montecito, California, USA | Contractor: Young Construction | Photography: Nikolas Koenig, Tim Bies (Olson Kundig Architects) and Jim Bartsch

“The house is situated in a tough landscape so the materials also needed to be tough,” Kundig said. “Steel is essentially no-maintenance and provides the sort of fire protection you need to have in a fire prone area. Because both ends of the house open up, we were able to cool the house using natural ventilation. Cool air rises off the ocean and is able to flow all the way through the house.” Even the swimming pool is more than just a recreational boon. The pool is situated adjacent to the living room, providing evaporative cooling for the house when needed and also serving as an emergency water source for firefighting if necessary.

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JUNE/JULY 2014

NANAIMO 201-4300 Wellington Road • Telephone: 250-756-3614

“THE HOUSE IS SITUATED IN A TOUGH LANDSCAPE SO THE MATERIALS ALSO NEEDED TO BE TOUGH.” — Tom Kundig

JUNE/JULY 2014

THE MASTER BEDROOM IS ESSENTIALLY A CUBE OF GLASS, TO TAKE FULL ADVANTAGE OF THE MAGNIFICENT LANDSCAPE ON ALL SIDES.

The house lives big, Kundig said, but at just over 3,000 square feet is purposefully small. “A small building in a big landscape—putting the occupants into contact with their surroundings as much as possible.” The roof is not only shaped to capture views in both directions and to catch updraft breezes from the ocean for natural ventilation, it also gives the house its distinctive profile while channeling rainwater for onsite use. The roof also functions as an umbrella to shield the house from the sun, while the onehundred-foot-long central hallway allows naturally cool offshore breezes to circulate. The hallway creates an axis dividing public space from private: the garage, road and entrance lie to the east; the garden, pool, guest rooms and other living spaces lie to the west.

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JUNE/JULY 2014

WardWard Village Village is Honolulu’s is Honolulu’s newest newest coastal coastal community: community: a cosmopolitan a cosmopolitan setting, setting, a fresh, a fresh, modern modern Ward Village is Honolulu’s newest coastal community: a perfect cosmopolitan setting, a fresh, modern attitude attitude that embraces that embraces the Hawaiian the Hawaiian experience, experience, the perfect the mix of mix urban of urban and island and island living. living. Ward attitude Village Wardis Village Honolulu’s is Honolulu’s newest coastal newestcommunity: coastal community: a cosmopolitan a cosmopolitan setting, fresh, modern a fresh, modern that embraces the Hawaiian experience, the perfect mix of urbanasetting, and island living. attitude attitude that embraces that embraces the Hawaiian the Hawaiian experience, experience, the perfect themix perfect of urban mix of and urban island and living. island living. Two iconic Two iconic residential residential buildings buildings now selling now selling — Waiea — Waiea & Anaha & Anaha iconic residential buildings nowstarting selling — Waiea & $700,000 Anaha $700,000 1, 2,Two 31,bedroom 2, 3 bedroom & penthouse & penthouse residences residences starting from from Two 1, iconic residential iconic residential buildingsbuildings now selling now —selling Waieafrom —&Waiea Anaha & Anaha $700,000 2, Two 3 bedroom & penthouse residences starting 1, 2, 3 bedroom 1, 2, 3 bedroom & penthouse & penthouse residences residences starting starting from $700,000 from $700,000

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The primary living spaces are organized within a large glass and steel box; on the ocean-side, the large asymmetrical roof lifts off and floats above the living spaces providing an air gap for cooling. When the window wall and the ten-foot-tall Dutch door are opened, cool breezes flow through the house to exhaust hot air. The interior is simple—as it needs to be when the landscape is so overwhelmingly majestic; no man-made work of art could hope to compete with the views through the floor-to-ceiling windows. In the living area a sleek boxy column of a fireplace is the only interruption of the view. Even the master bedroom and bath are essentially cubes of glass. The Montecito Residence was inspired by the landscape—and by owners who embraced the challenging build and design process. “Having a client that is engaged and appreciates the process is critical to a successful outcome,” Kundig said. “My satisfaction comes from having satisfied clients.” h

JUNE/JULY 2014

ICONIC ARCHITECTURE

DEFYING DEFINITION

BRILLIANT BUILDINGS AND THE GENIUS BEHIND THEM

FRANK GEHRY

WORDS BY HADANI DITMARS

FRANK GEHRY HAS BEEN COMPARED TO MICHELANGELO BY THE LIKES OF PHYLLIS LAMBERT AND HIS GUGGENHEIM MUSEUM IN BILBAO WAS FAMOUSLY CALLED “THE GREATEST BUILDING OF OUR TIME” BY PHILLIP JOHNSON.

Despite Gehry’s deconstructivist tendencies, his work embodies a certain classicism and appreciation for history. His Loyola Law School in Los Angeles, for instance, boasts a reference to a Greek temple even as it subverts it, twisting it on an axis of seven degrees and leaving the columns unattached to the building. One can observe a similar explosion of form in his seminal ‘70s Santa Monica house. It undermines the traditional suburban bungalow even as it elevates it, offering an inventive architectural exoskeleton of a house and employing industrial grade materials like asphalt flooring, chain link fencing and corrugated sheet metal—effectively blowing up the domestic sphere. Gehry’s buildings possess a liquidity of form that can make them appear to dance in mid-air—like his Fred and Ginger project in Prague—yet they are grounded in complex but pragmatic plans. He rejects the label of “starchitect” that some say he has been unfairly saddled with, seeing himself as a journeyman whose task is to “deliver a building on time and on budget” and make sure it “doesn’t leak.”

Left. Detail of Frank O Gehry Stata Center building at the Massachusetts Institute of Technology in Cambridge, Massachusetts. Photograph by Jorge Salcedo. Above. Portrait of Canadian-American architect Frank Gehry. Photograph provided by DBOX | dbox.com.

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American architectural historian Victoria Young says Frank Gehry will be remembered for “changing the face of architecture—creating new shapes, forms and a new understanding of space.” And yet the Pritzker Prize-winning Gehry is an architect who defies easy definition. While he came of age architecturally in the early ‘80s when postmodernism was at its height, his work differs from contemporaries like Phillip Johnson, Charles Moore and Michael Graves. He was more experimental than referential, creating a whole new language of form; reimagining external envelopes and materials and embodying both an artistic sensibility and a respect for function. Gehry’s deconstructivist approach to buildings often reveals their structure—married to sensuous, curved, sculptural forms—and creates a kind of architectural alchemy that makes him unique among his peers. While architects like Johnson have often followed styles and the whims of clients there is continuity to Gehry’s aesthetic that shows, Young notes, “he has stayed true to what he believes buildings should be.”

Top. The Dancing House (also known as the Fred and Ginger house) stands on the Rasinovo Nabrezi in Prague, designed by Vlado Milunic and Frank O. Gehry. Photograph by Vladimir Sazonov. Bottom. The Dancing House. Photograph by Jule Berlin.

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SEEING HIMSELF MORE AS A JOURNEYMAN, GEHRY REJECTS THE LABEL OF STARCHITECT.

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Gehry is an architect who bridges disparate shores, famously appearing on the Simpsons and designing jewellery and dresses for Lady Gaga even as he designs Guggenheims (his next one in Abu Dhabi remains on hold) and presidential monuments (his Eisenhower memorial continues to be controversial with Washington, DC bureaucrats but he perseveres). His mix of highbrow and pop culture, funk art and classicism makes him a man of his time and yet at age 85 with a 60-year career behind him he is possessed of a prolific gravitas. Ironically, for an architect who was the first to fully exploit new technology in a significant way (applying French aerospace technology to architecture and pushing the limits of computer drawing well before Zaha Hadid), his process depends heavily on sketches and models. Just as he employs a range of scale in his designs—from rings to museums—he makes models in a variety of scales and sizes so, as he puts it, “to not get too attached to the object,” but to give proper perspective to the form.

JUNE/JULY 2014

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“[GEHRY] HAS STAYED TRUE TO WHAT HE BELIEVES BUILDINGS SHOULD BE.” — Victoria Young

Top. Weisman Art Museum in Minneapolis, USA. Located on University of Minnesota campus in Minneapolis and designed by architect Frank Gehry. Completed in 1993. Photograph by Sophie James. Bottom left. Guggenheim Museum in Bilbao, Spain. Designed by Frank Gehry, this museum is dedicated to the exhibition of modern art. Photograph by A.B.G. Bottom right. Guggenheim Museum. Photograph by Perdo Sala.

As the art of architectural criticism and historicism merge in a way they never would have a century ago, it’s easy to imagine that a building like the Bilbao museum—striking and fresh even 20 years later—may well become a classic in its own right. For now, Gehry remains one of our century’s seminal architects, a feisty iconoclast who embraces celebrity even as he shuns the label; an inventive master of form who liberated architecture from its traditional constraints even as he honoured its roots. h

JUNE/JULY 2014

DESIGNER PROFILE

CHAT WITH THE STYLE GURUS

DESIGN IS VISUAL AND INTERACTIVE BUT AT THE END OF THE DAY, IT IS ALL ABOUT MAKING SOMETHING BETTER.

Good design starts with functionality and addresses how people are going to interact with their space and everything in it, says Lynn Clarke, principal with Portico Design Group. “When that is all resolved, the visual comes into play, balancing and defining with colour and texture but in a restrained manner so the bones of the design are still there,” she says. “My business philosophy is pretty much the same. If you get the nuts and bolts of it right, you don’t need to add too much gloss.” Clarke began her design career 30 years ago in retail, later moving to corporate design before delving into multi-family, residential and resort and hospitality at Portico, more than 13 years ago. “The resort and hospitality is my hands-down favourite,” says Clarke. “There is always a sense of romance and excitement that you are trying to convey—it’s an extra element, a fun story or bit of whimsy that is woven into the design.” Before interior design she worked in community planning, which has added to her overall sense of making a real difference in her projects. “I’ve always felt that people’s environments had a huge effect on their sense of well-being, and I wanted to create places that improve the quality of life,” she says.

Interior Designers of Canada (IDC) is the national advocacy association for the interior design profession. IDC represents more than 4,000 members across nine provinces and their vision is to ensure that their members are competent, trained professionals with access to the latest business tools, education and networking opportunities. To locate a registered interior designer near you, visit findinteriordesigner.org.

Far left. The Ridge in Nanaimo uses traditional materials like wood and stone to create a modern interpretation of Craftsman style. Photographs by HA Photography. Below. Union, nestled within Victoriaâ&#x20AC;&#x2122;s historic neighbourhoods, has clean modern lines that are perfectly mingled with a sense of character and place. Photographs provided by Portico Design Group.

WORDS BY JESSICA KRIPPENDORF

STARTING WITH THE NUTS AND BOLTS

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INTERIOR DESIGN BY LYNN CLARKE

Above. The elegant hotel lobby feel at The MET in Burnaby was attained through the use of luxurious finishes and a sophisticated colour palette. Rendering provided by Portico Design Group.

“I WANTED TO CREATE PLACES THAT IMPROVE THE QUALITY OF LIFE.” — Lynn Clarke

Left. The dark knotty plank floors at Wallace & McDowell in North Vancouver provide an industrial contrast to modern sleek white cabinets. The pull-out dining table, counter-depth fridge and built-in microwave allow for a perfectly multi-functional space. Photographs by Geoff Livingston.

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Although she finds inspiration almost everywhere—it’s sometimes hard not to be inspired or get lost in creative daydreams, she says—her designs largely begin with a feeling and proceed with trying to recreate that with colour, texture and form. Clarke recently worked on concepts for a multifamily project in North Vancouver where the client was looking for something that would stand apart from other projects in the area. “We created three schemes that drew their inspiration from the local and natural history,” says Clarke. “One scheme spoke to the area’s history in shipbuilding, another to the turn-of-the-century architecture and the third to the natural habitat of beach and forest. I think the essence of each scheme is well defined, but they are all created in the context of a contemporary style.” In contrast, she says, luxury hotels inspired concepts for a multi-family tower in Burnaby. “This space is very elegant, with a palette of rich materials and interesting plays of light.” h

Marlborough Street Penthouse,Boston, MA Architect: Hacin + Associates, Inc. Designer: David Hacin Photo: Michael Stavaridis

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Be House Proud

FEATURE HOME

Located in the idyllic community of Nanoose, drive and walking throughways curl around the base of Elangeni like waves against a shoreline and create the appearance of a structure at home in nature—precisely what the homeowners were looking for. “It was important to us that the home look as though it evolved on the site,” says the homeowner. “And people who come to visit always say it seems like it has always been here.” The lot’s position overlooking the Pacific, generous glazing and a distinct view from every room welcome light into every corner, an element high on the Calgary-based couple’s wish list. They came to Vancouver Island with clear ideas of how they wanted their ‘forever home’ to manifest, beginning with a craftsman-style design in mind. “Then when we came here and looked around and saw the neighbourhood was an eclectic mix of styles, we wondered, what do we really want to do?” said the homeowner. Realizing the possibilities were limitless they started moving in the direction of a West Coast contemporary style with inspiration from Vancouver designer Brian Hemmingway and custom-home builder Taran Williams, principal with TS Williams Construction Ltd.

WORDS BY JESSICA KRIPPENDORF PHOTOGRAPHS BY ARTEZ PHOTOGRAPHY CORPORATION

ELANGENI WHERE THE SUN SHINES THROUGH

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ELANGENI—THE ZULU WORD FOR “PLACE WHERE THE SUN SHINES THROUGH”—COULDN’T BE A BETTER FIT FOR A STUNNING HOME TUCKED AWAY AGAINST THE OCEAN AND AN ENDLESS SKY.

Above. A stylish kitchen space that opens into the dining area invites people to gather.

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“Taran showed us pictures and we had ideas of our own we’d looked at in magazines,” said the homeowner. “It was just a matter of bringing it all together and creating a master theme.” Elangeni’s exterior presents as a butterfly footprint, modified to stand up to west coast oceanside weather and meet stringent neighbourhood height restrictions. Three equivalently pitched roofs are connected by a flat section where the peaked great room roof pops up, appearing to float above a series of perimeter transom windows and creating a view to the water from the front drive and a lantern effect at night. The entry is snug and protected between the outer wings, yet maintains a grand scale announcement with an oversized fir door and generous clear sidelights that welcome the eye to the ocean. Inside, the palette—neutral in greys and white tones, but warm and sophisticated with splashes of colour and deep exposed beam accents—is the perfect inspiration for celebrating nature’s beauty as a backdrop. Fir casings and trim on the windows frame the view and a soft grey tint in the wall paint ties in subtly with the concrete and rock materials that weave throughout the design. The kitchen is a stylish, sleek space with grey painted maple veneer cabinets and marble-patterned quartz countertops. It welcomes a hint of shine from stainless appliances and narrow porcelain backsplash tiles. Leather and metal stools pull up to an oversized island that the homeowner insisted remain a solid surface—encouraging people to gather. “We do a lot of entertaining,” she said, “and people always end up here in the kitchen, around this island.” Deep crockery drawers tuck essentials neatly away into the island, which also houses a bar fridge and a dishwasher. Ample counter space means the homeowner can separate her space by function—a baking area is nestled into one end of the room while cooking materials are stored at the other. Light flows freely through the main living area where the kitchen, dining space and great room run adjacent, separated and made intimate with exposed ceiling beams at the edge of each space.

“PEOPLE WHO COME TO VISIT ALWAYS SAY IT SEEMS LIKE [ELANGENI] HAS ALWAYS BEEN HERE.” — The Homeowner

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The great room beckons warm, cozy evenings around the fireplace—housed in a robust pre-cast mantle and hearth made of a durable, lightweight concrete and a Styrofoam composite material. Rough-cut stone in grey and blue tones to match the palette rises up behind the fireplace, tying into the mantle and hearth’s basalt-style finish. Rich saffron maple flooring, engineered in fiveinch planks to match the fir window casings, stretches throughout the living area and frames a stone detail in the floor near the entry. A custom-carved, Coast Salish art piece is mounted on the feature wall between the entry and the great room. It sits away from the wall with a glowing backlight, making a beautiful, serene statement in the space and reflecting symbolism that is personal and important to the homeowners.

Above. Picturesque views along with thoughtful design elements make Elangeni perfect for entertaining—and living.

Grey tones and stone materials extend to the master ensuite and guest bath—both of which create clear, open sightlines with frameless, door-less glass shower enclosures and picturesque views. Stylish recesses over the soaker tubs are spa-inspired details that demonstrate the design and build teams’ commitment to quality and detail. TS Williams works continuously with the same tradespeople from project to project, bringing a sense of continuity and craftsmanship to each home, which Elangeni’s homeowners say was obvious in the quality of workmanship. “They were the best of the best,” says the homeowner. “Because they work together so often, they can anticipate what the next trades will need. They really became like family.” h

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ARCHITECTURE SECTION

WORDS BY DANIELLE METCALFE-CHENAIL

DEFINING ICONIC WHAT DOES IT MEAN AND HOW IS IT INFLUENCING CONTEMPORARY ARCHITECTURE?

BURJ AL ARAB HOTEL Considered the world’s most luxurious hotel and built on an artificial island 918 feet from Jumeirah Beach, the Burj Al Arab hotel is the most recognizable landmark in Dubai, UAE. Designed by British architect, Tom Wright. Photographs by Subbotina Anna.

THE NATIONAL GRAND THEATRE The spectacular glass and titanium egg-shaped National Grand Theatre, also known as the Beijing National Centre for the Performing Arts, was designed by French architect Paul Andreu. Surrounded by an artificial lake, the building seats 5,452 people and is home to an opera house, concert hall and drama theatre. Photographs by Songquan Deng (top) and Zhu Difeng (bottom).

WHAT MAKES ARCHITECTURE ICONIC? CD: It depends on context. Contemporary iconic architecture was born in Dubai and then went on to China. They are hungry to belong to the contemporary world and they get attention by creating the tallest buildings in the world, no marketing needed. GD: Iconic architecture was historically designed for kings and gods back when many people served the few. Today, many institutions and individuals can afford iconic architecture and it can give an exciting and unique face to a city. Bridges, identifiable towers and distinctive architecture give structure to our memory of a city. MG: It’s extraordinarily personal. Iconic means it relates to many people but no building can or should be all things to all people.

Chris Doray

Gene Dub

Michael Green

JUNE/JULY 2014

It seems that the use of the term “iconic” and its value when referring to architecture is an oft-debated subject these days. Is a building iconic simply because it is extremely tall or has an unusual form? Or should the term only be used to recognize architecture that is not only beautiful and perhaps unique in some way, but a functional, thoughtful and sustainable addition to its immediate environment? We spoke to three prominent Canadian architects and designers about iconic architecture and they did not hold back. Chris Doray is design principal at Chris Doray Studio, Gene Dub is owner and principal at Dub Architects and Michael Green is principal at Michael Green Architecture. Here are their thoughts:

ST. MARY AXE St. Mary Axe, known informally as the Gherkin, a 41-storey, 591-foot building designed by Foster and Partners, located in the financial district of London, UK. Photographs by Dan Breckwoldt and Ron Ellis (below, left).

WHAT’S ONE OF YOUR FAVOURITE EXAMPLES OF AN ICONIC BUILDING? CD: Norman Foster’s tower in London, England—it is nicknamed “Gherkin” because of its shape. It’s a corporate headquarters and serves its purpose very handsomely. Londoners have woken up to the premise of what an office building could be: a work environment that’s extremely healthy, with gardens and a vertical atrium so people work no more than 15 to 20 feet from the windows.

GD: Edmonton City Hall. One of the criteria was that it could be identified by grade school children as a symbol of the city. Its symmetry from Churchill Square was a nod to a historical tradition of city halls while its asymmetry, from the sides, is a reflection of the dynamism of a progressive changing city. Its atrium centre was to encourage public gatherings in its heart, another iconic feature. MG: Louis Kahn is the architect for me—seeing his work was the first time I was moved spiritually. It’s simple and purposeful and evolved out of a design idea about the essential.

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INDIAN INSTITUTE OF MANAGEMENT The IIM Ahmedabad in Gujarat, India is a stunning example of American architect Louis Kahn’s work. By taking a fresh look at India’s traditional education system and blending modern architecture principles with Indian customs and practices, Kahn helped create one of the most sought after and influential business schools in the world. Photograph by Scott Norsworthy.

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EDMONTON CITY HALL

DOHA SKYLINE, QATAR

BEIJING NATIONAL STADIUM Beijing’s National Stadium—also known as the Bird’s Nest—was designed for use throughout the 2008 Summer Olympics and Paralympics. Photograph by Eastimages.

WHAT ARE SOME OF YOUR CONCERNS ABOUT CONTEMPORARY ICONIC ARCHITECTURE? CD: Last March when I went to Doha, Qatar I saw a city that was built instantly that is larger than downtown Vancouver. There are fifty-storey skyscrapers built by renowned architects from France, England, Denmark and the US that are vacant. They are privately owned by relatives of the prince or king and only the top three floors are occupied by owners. It’s not relevant to the people there if it won skyscraper of the year award. It’s the same with the stadium built in China for the Olympics—architects are getting all these awards, but how do you justify a structure that’s used for less than two weeks?

GD: The leading concern is that iconic buildings are designed to be dramatic at the expense of function and human scale. Sometimes the drama is not meaningful and the building can appear superficial rather than special. Some iconic buildings become isolated objects in space without a comfortable streetscape around them. MG: A lot of today’s iconic buildings are embarrassing. Sometimes they’re beautiful sculpturally, but the really beautiful ones are the most pared down. Architects need to think about our place in the world—not just showcase big fancy buildings but solving big complex problems.

THE STRATA The Strata in London was initially heralded as being ‘environmentally innovative’, in part due to three wind turbines on its roof. Since then it has been voted Britain’s ‘Ugliest New Building’ and has been at the centre of socio-economic housing disputes in the area. At 43 storeys the building presents a distinctive outline as the only high-rise building in the area.

DOHA SKYLINE, QATAR The unique and rapidly changing skyline of Doha—the largest city in Qatar, a sovereign Arab state—is a dramatic visual statement to the immense wealth and prosperity in the region. Construction is booming and interestingly, with over 60% of the nation’s population residing in Doha or its surrounding suburbs, there are privately-owned towers where only a few floors may be occupied on a regular basis.

JUNE/JULY 2014

DREAM KITCHENS REALLY DO COME TRUE

WHERE IS ICONIC ARCHITECTURE HEADED? CD: Vancouver House in Vancouver, a 52-storey tower by Bjarke Ingels Group set to break ground in the next year or so. It will turn heads, guaranteed. GD: The pendulum of iconic architectural fashion may have reached its ultimate height. I sense some fatigue with novelty shapes for noveltyâ&#x20AC;&#x2122;s sake, but iconic architecture which serves good urban design and city place-marking will never disappear.

VANCOUVER HOUSE

MG: I hope that people in the profession won’t try to be celebrity architects making the next “shapey” building. It should be about knowing you’ve touched people through purity and simplicity of design. h

Looking southward towards Vancouver House shows how residential high-rise and lower commercial buildings are being brought together to form a new community. This dramatic view of the entire tower shows how the building torques up from its tightly delimited triangular base then branches out at higher levels. Renderings provided by Westbank Projects Corp.

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JUNE/JULY 2014

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ARCHITECTURE SECTION

HIGH PERFORMANCE HOMES WORDS BY DANIELLE METCALFE-CHENAIL

THE IN-BETWEEN HOUSE Left. Photograph by Roger Brooks Photography. Top right. Solar assessment rendering by Michel Labrie Architect inc.

Whether you’re looking to build a “green” home or renovate your current one, the trend is clear: passive design and high performance houses are the way to lower your energy costs and minimize your environmental footprint. These two concepts may sound contradictory, but as Christopher A. Higgins, Program Leader for Leadership in Energy and Environmental Design (LEED) Canada for Homes, notes, “They both approach the question as if energy is scarce and expensive, like it is in Europe.” Buildings are responsible for approximately 48% of our energy use in Canada and according to Higgins it’s very difficult to find accurate information about a home’s fuel efficiency. “Energy costs often trump property taxes,” he says. “Buyers should be able to know what the lifetime energy cost is of one house versus another.” LEED, which began in 2009, is a formal program that certifies residential buildings are “green,” assigning credits for using local materials or recycled content, for neighbourhood walkability, air quality and sewer and water facilities. It also focuses on retaining energy that would be lost passively—hence the name “passive house.” “Every builder says they build a really good home,” says Higgins, “and home buyers are rightfully wary of ‘greenwashing’. So we [at LEED] have Green Raters who go to the site and in the final inspection we do a blower door test where we pressurize the house with a computer controlled system to see how leaky it is.” This leads to homes that are less drafty and more comfortable to live in, something that is front of mind for Vancouver architect Michel Labrie.

JUNE/JULY 2014

WHAT’S NEW IN ECO ARCHITECTURE AND DESIGN

Warm/hot drain water

Incoming water

GREEN ENERGY Power-Pipe heated water Cooled drain water

POWER-PIPES

“There’s a real impact on quality of life when you use passive design strategies,” says Labrie. These strategies often begin with a good envelope—walls, doors, window size and positioning and roof—but extend to landscaping. By using native plants and trees for seasonal shade, for example, you can reduce your energy needs summer and winter and may be able to leave your furnace off during spring and fall. “You can also create rainwater gardens instead of piping all your roof gutters into the municipal system,” Labrie says. “You can create beautiful water features and ponds this way.” “They are fairly inexpensive from a capital point of view and are there for the life of the house,” says Labrie. “[Passive homes] become buildings that save energy year after year.” h

Christopher A. Higgins of LEED Canada for Homes suggests Power-Pipes are one relatively easy and inexpensive way for DIY-ers and home builders to improve energy efficiency. “When we’re taking a shower, the hot water touches us for a few seconds and then goes down the drain,” he says. “It’s still quite hot, and increasingly we’re trying to recapture that energy.” A Power-Pipe is a three-inch copper drain pipe surrounded by three one-inch square pipes. When hot water goes down the pipe it wants to stick to the sides, so it transfers from the outgoing water and preheats the cold water coming in before it goes to the hot water tank. “It’s passive, there’s no maintenance and it has a lifespan of 30+ years with a recapture of 45-47% of the energy going down the drain,” says Higgins. “It costs between $600 and $800 to put in this device but [it] usually pays for itself in less than two years, especially if you have a family.”

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ARCHITECTURE SECTION

DE BEERS JEWELLERS VANCOUVER The first De Beers Diamond Jewellers location in Canada was designed to sparkle as brightly as their timelessly elegant wares. Photograph by Alexander Gerchikov.

WORDS BY CLAUDIA KWAN

Above. Christophe Carpente portrait. Photograph provided by CAPS.

CHRISTOPHE CARPENTE TELLING THE STORY OF RETAIL DESIGN

ESCADA LOS ANGELES Escada’s new store identity favours a subtle expression of elegance and contemporary luxury that reflects the cool yet refined personality of the Escada woman. Photographs by Jean-Philippe Defaut.

“[RETAIL DESIGN] IS ABOUT DEMONSTRATING THE PERSONALITY, VALUES AND HISTORY OF A RETAILER—AND THEN GETTING INTO FUNCTION.”

In explaining his effort to show off the wares at De Beers Diamond Jewellers to best effect, London, UK-based architect Christophe Carpente says that retail design is like trying to tell a story. “It’s not about putting my personal stamp on a building,” the principal of CAPS explains. “It’s about demonstrating the personality, values and history of a retailer—and then getting into function.” For De Beers, Carpente naturally takes inspiration from diamonds. The extensive plate glass storefront windows of their new Vancouver store are the first sign of this, deliberately engraved with graphic patterns as though diamonds have scratched the glass. And natural light floods the space, in contrast to the purely artificial illumination often found at other jewellery stores. Sparkling elements are interspersed throughout: woven metallic fabric panels shimmer above gleaming

ebony floors as black lacquer panels reflect the rainbow tints of glittering jewels. A ‘magic mirror’ projects images from a diamond scan, showing how light travels upward through a perfectly cut gemstone. Carpente considers stairways to be a particular signature of his. They invite people in by creating a sense of movement and transitioning one space to another. A double staircase at the entryway allows visitors to choose where to head to first—yet another contrast to traditional jewellery store design where people are deliberately funnelled from one spot to another. “It’s a very open space, which works off subtle cues to indicate to people where they may wish to go next,” says Carpente. “We allow the materials and the contemporary design to create zones, instead of putting physical objects in place.”

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— Christophe Carpente

STAIRWAYS INVITE PEOPLE IN BY CREATING A SENSE OF MOVEMENT AND TRANSITIONING ONE SPACE TO ANOTHER.

DUNHILL NEW YORK Inspired by Alfred Dunhill’s sense of humour, spirit for invention and passion for detail, CAPS revamped the brand with a mix of contemporary materials, colours and subtle detailing. Photographs by Edi Huber.

Slim display cases visually ‘float’ on the sales floor; high-gloss black lacquer echoes the wall panels and disappears into the dark floor, directing all attention to the jewellery laid against white cloth. Carpente is proud of having incorporated all necessary security functions in the cases without having the bulk of traditional display cabinets. The cabinets are shaped in rectangles, semicircles and broken full circles; visual marketing aids to gently guide people through the jewellery. Recessed pot lights high overhead are precisely placed to follow the path of the cases—lighting their contents for maximum sparkle. An engraved glass panel and black flooring visually delineates where the high-end jewellery is kept and darker, luxurious materials create a cozy environment in the private buying rooms. Carpente has worked with other brands such as Christian Lacroix, Escada and Bally and says he always wants consumers to emerge from retail stores feeling as though they’ve learned what they needed to know about a company’s products—in surroundings that are as pleasant as possible. h

H O M E S

R E N O V A T I O N S

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C U S T O M

ARCHITECTURE SECTION

FRIEDMAN GARDEN Cornelia Hahn Oberlander’s commitment to sustainability was already evident in 1953, in the Friedman Garden.

Cornelia Hahn Oberlander

WORDS BY CLAUDIA KWAN PHOTOGRAPHS BY MICHAEL ELKAN

CORNELIA HAHN OBERLANDER FOLLOWING HER OWN PATH

WHEN RENOWNED LANDSCAPE ARCHITECT CORNELIA HAHN OBERLANDER LOOKS BACK AT HER FIRST COMMISSION, IN 1953, SHE SAYS THERE ISN’T ANYTHING SHE WOULD DO DIFFERENTLY.

WHY DID THIS BUILDING CAUSE A RUCKUS?

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It was an era where the English garden tradition—full of perennials and flowers—was dominant. Oberlander decided instead to respect existing features of the Friedman garden in Vancouver and work with plant species native to British Columbia. “It was completely unheard of in this part of the world,” says Oberlander. “That’s where I began to make a mark. I never worried about what people said.” The Friedman home and garden have recently been restored to reflect her original vision with architect Frederic LaSerre. A huge mass of bedrock in the centre of the triangular lot could have been a significant obstacle; rather than trucking in topsoil and plantings, Oberlander opted to create a tranquil pea gravel courtyard with a meandering border. It also fit in with the client’s request for low maintenance landscaping—an early indicator of Oberlander’s strong commitment to sustainability. When salmonberry shrubs introduced themselves in the garden, she incorporated them. She created a whimsical mini-forest of indigenous trees and ground cover, including moss and ferns. A dogwood has grown significantly since it was first planted, while other trees ring the property. The viewing garden is beautiful year round, not only when blooming. Oberlander originally kept mature alders on the site, which helped insulate the corner of the property from the noise of local traffic. They were removed only after reaching the end of their natural lifespan. On one side white heather is mass planted in a visually intriguing 45-degree diagonal; it enhances the natural slope. Azaleas and rhododendrons are mass planted on other surrounding slopes. “The eye is caught by it, far more than just putting one plant here and one plant there.”

ROBSON SQUARE

KING DAVID HIGH SCHOOL

The use of a wide variety of passive, active and formal areas at Vancouver’s Robson Square—along with its informal areas—was ahead of its time, as were so many of Oberlander’s stunning creations.

“THE BOND BETWEEN HUMANS AND OUR ENVIRONMENT IS BUILT INTO OUR GENES.” — Cornelia Hahn Oberlander

ROBSON SQUARE

Brit’s Fine Furniture KING DAVID HIGH SCHOOL

“Creating Heirlooms for Your Grandchildren”

Looking for plants native to Israel but hardy enough for Vancouver’s climate, Oberlander spent more than a year researching her vision for the school’s biblical garden.

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WHO DESIGNED A MOON-INSPIRED LAMP?

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The principles employed here were expanded and refined in later years at UBC’s Museum of Anthropology, UBC’s C.K. Choi building, Robson Square in downtown Vancouver and a courtyard in the New York Times building. She is also proud of a massive playground at Expo ‘67 and her work at Maclean Park and Skeena Terrace in Vancouver. At the age of 92, Oberlander remains as busy as ever, with dozens of active projects and speaking engagements, and when she reflects on her professional path, several things come to mind. “If I had stayed in Boston or New York, my career would never have unfolded the way it did in Vancouver. There is freedom to think and create new things here, my husband Peter and I had a great deal of luck establishing relationships and collaborating with wonderful architects, like Arthur [Erickson].” She urges other women to consider landscape architecture because it lends itself to work-life balance. Oberlander focused on smaller projects when her three children were young, working while they were sleeping then getting them to school and activities and running the household during the day. She has actually done the calculation—in 56 years of marriage she prepared 143,000 meals for Peter. Oberlander hopes the preservation of the Friedman garden will demonstrate the five p’s that have guided her career for more than 60 years: patience, perseverance, politeness, professionalism and passion—something that has never waned for her. h

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ARCHITECTURE SECTION

WORDS BY BEN VORST

IN THE DRIVER’S SEAT HISTORICAL AND CONTEMPORARY ARCHITECTURAL INFLUENCE ON MODERN FURNITURE DESIGN

FORM FOLLOWS FUNCTION Daan Mulder’s masterful table incorporates the best of contemporary design: fluidity and clean lines; eye-pleasing creativity combined with usability; natural materials that nonetheless synchronize with a modern setting. The use of solid colours and patterns is another Eastern-influenced trend carried forward by early modern designers.

“THE ROOM IS THERE FOR THE HUMAN BEING—NOT THE HUMAN BEING FOR THE ROOM.” — El Lissitzky

DRAWING ON FRANK LLOYD WRIGHT’S EMPHASIS ON FUSING FURNITURE WITH ITS ENVIRONS, THIS TABLE WOULD BE PERFECT FOR A HOME SURROUNDED BY, OR LOOKING ONTO, A FOREST. Frank Lloyd Wright (1867-1959)

THE WAVE TABLE An elegant echo of the Noguchi table, one of the iconic pieces of modern furniture design; simplicity of line and a floating effect give this table an unobtrusive presence.

Modern furniture can itself mistakenly carry connotations of the banal; the interior design reflection of fashion’s haute couture, say. Yet the architect’s mandate of providing appropriate, functional design for the users of a certain space is paramount, even when the end product is coloured by artistic bravery and florid imagination. Come to think of it, what’s more integral to human consumption than imagination anyway? These roots of human-focused design go back to the early days of architectural furniture design. With strong influences from modernism, constructivism, the Bauhaus school, minimalism and others, early 20th-century architects combined the increased availability of new materials and the burgeoning focus on mass availability (not to be confused with mass appeal) to create new and inspiring furniture designs that fit the spaces they occupied.

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To many of us, architecture seems like a mysterious alchemy practiced by a rare breed. Fusing the intensely tangible realms of engineering and construction with the soaring imagination of modern design, architects often produce works of intense beauty whose meaning is lost on the uninitiated. A sad irony then that—for more than a hundred years—architects have actually been striving to make their work accessible, user-focused and integral to their environment; there’s really nothing Masonic about it at all. The threads of this ethos—inclusivity and functionality—are strikingly evident in architecturally-designed furniture.

ZERO CHAISE Taking their cue from Le Corbusier’s focus on freedom of movement and furnishings as an extension of human limbs, modern designs continue to make use of ultra-strong bases to create floating effects. Pioneers of the form have a predilection for creating pieces whose centre of gravity is inconspicuous or whose stability is counterintuitive.

From Mies van der Rohe’s Barcelona chair to Arne Jacobsen’s egg and from Frank Lloyd Wright’s Larkin Building metal furniture to Eames’ moulded plywood lounger, architects have been bringing us pieces integral to their environment; pieces whose ability to be mass-produced disassociated the form from its traditional, class-based valuation system. Not so big a mystery after all. h

LIGHT AND SPACE Making great use of natural light, this ensemble uses negative space within the pieces, freeing itself from bulkiness that could endanger the transitory airiness of the area. The fusion of modern and traditional materials speak to the spirit of innovative design, flying in the face of musty traditionalism; the wooden slats nicely echo the linear aspect of the surrounding elements.

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EXPRESSIONS

INTERVIEWS WITH EXCEPTIONAL ARTISTS

AERIAL SCULPTOR

JANET ECHELMAN A FORCE OF NATURE

WORDS BY LAURA GOLDSTEIN PHOTOGRAPHS BY EMA PETER

COMMISSIONED FOR TED CONFERENCE, 2014: To install Janet Echelman’s Skies Painted With Unnumbered Sparks, the streets surrounding Vancouver’s waterfront were closed down beginning at 6:00 pm so a team of local engineers with cranes could begin lifting and mounting the netting. The gigantic aerial sculpture was packed into a 12-foot wooden crate so sorting through the labyrinth of Honeywell Spectra fibres was a virtual Pandora’s box, taking all night and into the early morning hours to install. It weighed 3,500 pounds and was suspended 745 feet over the waterfront between the 24-storey Fairmont Waterfront Hotel and the Vancouver Convention Centre. At one point a tree got tangled in the nets. ”Everyone asks me, but we’ve never had a problem with birds getting caught in the sculptures,” assures Echelman. “They seem to instinctively know how to avoid the nets as the sculpture is moving in the wind.” To design and tweak the elaborate lighting on the sculpture Echelman collaborated throughout the week with Aaron Koblin—Creative Director at Google Creative Lab—who she met at TED 2011. For the first time ever the public was able to choreograph spectacular painterly lighting effects directly on the sculpture by logging onto a special website on their mobile phones while onsite.

In daylight the ephemeral webs of intricately patterned nets resemble a rogue sail of a mythic vessel; an exotic winged creature or a benign, tethered twister, all flirting with the wind, clouds and sky. By nightfall it transforms into a phosphorescent alien life form; a pulsating jellyfish snagged between ocean and city buildings, hypnotic, ghostly, organic. “I create soft, billowing sculptures that act as a counterpoint to hard edged cities and buildings. My aim is to create oases of art in urban centres around the world,” Echelman explains. Her eureka moment came when she was on a Fulbright Lectureship to teach painting throughout India. When her paints never arrived and she was contemplating local fishermen casting their nets out to sea, serendipity stepped in to change her life. She wondered how nets could be adapted to aerial sculpture so she worked with the fishermen to crochet 1.5 million knots together and then hoisted the nets on poles into the wind. Echelman’s sculptures continue to evolve and reflect years of consultation and collaboration with aeronautical and mechanical engineers, architects and lighting and landscape designers—even NASA (on spacesuit fabrication) and a roller coaster manufacturer. She then brings her customized designs to life with an Autodesk 3D program. Some designs—like Water Sky Garden installed at the Richmond Olympic Oval for the 2010 Winter Games—are permanent public art pieces, while others are transient. “Though I work on several projects at a time, I can only live and breathe one,” admits the Boston-based Echelman. “They are all different and tremendously complicated.”

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TO THE EYE OF THE BEHOLDER, JANET ECHELMAN’S AERIAL SCULPTURES ARE METAPHORS COMPLETELY SYMBIOTIC WITH THE ENVIRONMENT.

Left. Skies Painted With Unnumbered Sparks, at Ted Conference 2014, by Janet Echelman.

Above. Janet Echelman portrait, photo provided by Studio Echelman. Echelman combines the ancient craft of crocheted fishing nets with cutting-edge technology to create aerial sculptures the size of buildings.

Echelman installed the world premiere of her most ambitious project to date, in collaboration with Google and the Burrard Arts Foundation, in celebration of the TED Conference’s 30th anniversary in Vancouver. Skies Painted with Unnumbered Sparks (from Shakespeare’s Julius Caesar) was three years in the making, weighs 3,500 pounds and was suspended 745 feet over the waterfront between the 24-storey Fairmont Waterfront Hotel and the Vancouver Convention Centre. Designed from three types of colourful Honeywell Spectra fibres—15 times stronger than steel—it can withstand high winds, rain and severe sunlight. And the public could choreograph painterly lighting effects from their mobiles through a special website. A scrupulous researcher and impassioned historian, Echelman has a romantic penchant for naming her sculptures after nature and lines from literature. In 2010 she created a design using mapping data from NASA and the NOAA of Chile’s earthquake and ensuing tsunami, which shortened the earth’s day by 1.26 of a microsecond. A transient sculpture that has been installed over Denver, Sydney, Amsterdam and Singapore, 1.26 remains an astonishingly beautiful interpretation of an environmental catastrophe. h

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TRANSFORMATIONS

THE SALT BUILDING

PURPOSEFUL INTERIORS BY PROFESSIONALS

CONTEMPLATING THE PAST; TOASTING THE FUTURE

The journey that took the Salt Building from warehouse to gastro pub encompasses WW II, the end of traditional industries in False Creek, the creation of a whole neighbourhood carved from landfill and a dramatic bankruptcy followed by eleventh hour salvation. Oh, and did I mention the Olympics? Today the bright red former warehouse housing the Craft Beer Market—designed by Calgary’s McKinley Burkart—offers 150 different brews on tap and has become a popular neighbourhood social hub. But it almost didn’t make it.

Built in 1930 when salt was a key commodity, used—in those pre-refrigeration days—to preserve food. The building serviced the North Pacific fish industry and, at the time, it sat on wooden pilings sealed with tar and the waters of False Creek lapped at its sides. Salt was brought in on scows from the north side to be refined and then shipped by railway to the south. Today, residents of the Olympic Village enter the building from the north-facing seawall, have a pint and then head out via the new Canada Line to the south.

Above. The landmark red Salt Building has gained a new life once again. Draft beer and wine travels through overhead lines to 140 taps, adding a modern feel to what is now a favourite spot for locals and visitors alike.

WORDS BY HADANI DITMARS PHOTOGRAPHS PROVIDED BY ANSTICE COMMUNICATIONS AND MCKINLEY BURKART

WW II meant the collapse of the overseas market for fish but luckily the demand for salt remained high. However, by the 1980s the refinery had become a paper-recycling warehouse; by 2002 it was an empty, derelict building. In 2006 the city put out a call for bids, hoping for inventive proposals for adaptive reuse within a heritage framework. Acton Ostry Architects, together with Haebler Construction and the Mark James Group, responded with a winning Leed Gold proposal approved in late 2007 for a pub, bakery and café—envisioning the old Salt Building as a new social hub for the area. Working within a short timeline, Acton Ostry’s first job was to clear out the years of pigeon dung that had become a biohazard, get rid of the rotting wood and essentially “hose the place down” says architect Russell Acton. The next task was to lift the whole building by two feet as plans for adjacent village construction had not factored in the shift in road grades and had effectively buried the bottom of the building. The 300 wood pilings were then given steel extensions—a painstaking three month process to accommodate different angles and lengths. And then came the evaluation of what was worth keeping—original old-growth beams, for instance—and what needed to go, such as rotting structural trusses. Design-wise, Acton Ostry’s approach was “rehabilitation” rather than “restoration.” “We didn’t want to mimic historical architecture,” explains Acton, but rather make it “relevant” for current usage. “Contractors offered to sandblast and stain some of the new trusses,” he explains, “to make them look

old. But we said ‘no’—we want there to be a clear delineation between old and new.” Their big contemporary moves mainly involved opening up the dark hulking warehouse by adding huge windows at the north and south entrances to bring light deep inside. Eschewing “heritage windows” for sliding glass panels and restoring what they could where they were able, Acton Ostry created a modern space while still respecting the scale and massing of the original structure. While the exterior of the building was preserved more than the interior, the reverse was true for the roof—heritage experts deemed it unrepairable from the outside but worth preserving underneath. The result is that patrons can gaze up at old-growth trusses and original wood decking as they drink their draught. The space became a de facto “athlete’s living room” during the Olympic Games in 2010 but after the party came the hangover—the developer declared bankruptcy as condo units failed to sell. And when Acton Ostry and their consortium could not find clients willing to risk opening a pub in a virtual ghost town, the city reneged on their original agreement to give them leasing rights for 20 years. Once again the building sat vacant. But after tenants like London Drugs and Urban Fare moved in and as condo sales picked up, the Calgary-based Craft Beer Market opened its doors last winter. Now the Salt Building is alive again, not due to the old commodity that spawned it but thanks to the city’s current one—real estate. As the former industrial area has become more residential, the gastro pub has become the place to contemplate the city’s past and toast its future. h

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HERITAGE CONVERSIONS DON’T OFTEN PLAY OUT AS CINEMATIC EPICS. BUT THE REHABILITATION OF THE OLD SALT BUILDING IN VANCOUVER’S OLYMPIC VILLAGE MAKES ADAPTIVE REUSE SOUND DOWNRIGHT EXCITING.

JUNE/JULY 2014

COMMUNITY CHARACTER

EXPLORING VICTORIA’S URBAN ROOTS

VICTORIA’S ARCHITECTURE A MIRROR OF CULTURAL DIVERSITY

Above. St. Ann’s Academy (left) and the Chinese Public School (right).

WORDS AND PHOTOGRAPHS BY JOHN ADAMS

Sure, there are some quaint enclaves with winding lanes, gnarled oaks and plenty of Tudor-revival houses but we all know that the city really is much more diverse than the old-country stereotype suggests. It is certainly the case now. If truth be known, it always was a city of ethnic and religious diversity, even during the days when we were a British colony. This is reflected particularly in our architectural heritage. For starters, First Nations who have been living here for countless generations were masters with their use of red cedar. Plank houses with shed roofs supported by massive posts are now built mainly for ceremonial use but their simple lines have inspired more recent designs of houses and public spaces. The “West Coast Style” featuring post-and-beam construction with plenty of cedar on both exterior and interior walls is a direct legacy from the Songhees, Esquimalt, Tsartlip and other aboriginal peoples of the region. Architect Philip Chan’s stunning new Songhees Wellness Centre on Admirals Road was inspired by traditional form but incorporates plenty of glass and other materials in a totally modern context. French Canadians helped build Fort Victoria in 1843 and made up the majority of its inhabitants for many years. The first wing of St. Ann’s Academy was designed by Father Joseph Michaud in 1871 and would not have been out of place along the banks of the St. Lawrence River where the Sisters came from. Quebec convent architecture inspired Michaud and gives the heritage structure an appearance very different from Victoria’s other Christian buildings of the time. Victoria’s pioneer Jewish community built a handsome synagogue in 1863 during the building boom started by the Fraser River Gold Rush. Now a national historic site, it is the oldest synagogue in the country still in continuous use. Congregation

Emanu-El chose the city’s first professional architects—Wright and Sanders—to design the building. Rather than Gothic details which were popular at that time among Christian congregations with British roots, Scottish born John Wright based his concept on central European Jewish forms which emphasized Romanesque arches. One of downtown Victoria’s most distinctive heritage structures is the Chinese Public School which opened in 1909. Though designed by English-trained D. C. Frame, it embodies a fanciful combination of motifs not usually associated with the British Isles. Most distinctive is the pagoda-style roof with red tiles and swallowtail eaves; other elements suggest a Moorish influence. Overall, its exotic feel attracts attention even today and is one of Chinatown’s most photographed places. One catalyst which prompted the Chinese Consolidated Benevolent Association to undertake the ambitious project was a ruling by the Victoria School Board that briefly banned Chinese children from attending public schools. The Sikh Temple, or Gurdwara—up on its lofty site on the slope of Summit Hill—can be seen from afar. Built in 1912, it is the second oldest Gurdwara still in use in Canada (next to the one in Abbotsford). Sikhs from India’s northern Punjab organized a group for religious observances soon after arriving in Victoria in 1908 and it was not long before they sought a permanent location. The structure is not pretentious but, with its wide colonnaded verandah reached by a steep flight of stairs, it was very distinctive when first built. Extensive alterations in 1969 modernized and enlarged it, adding the landmark onion dome derived from South Asian architecture. These and other surviving religious and institutional buildings are visual reminders that Victoria is a city of diversity—and always has been. h

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THESE DAYS, MOST PEOPLE WHO LIVE IN VICTORIA SCOFF AT THE NOTION THAT WE ARE “A LITTLE BIT OF OLDE ENGLAND.”

ADVERTISING FEATURE

IN THE NEWS

UPDATES AROUND THE COMMUNITY

NEW SHOWROOM FOR ILLUMINATIONS LIGHTING

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Photograph by Caroline West

ENJOY A TASTE OF VICTORIA

Taste Victoria | 250.385.1527 | victoriataste.com Taste the Difference—an evening dedicated to savouring local cuisine and over 100 BC wines—opens Victoria’s sixth annual food and wine festival. Taste Victoria only works with those who are dedicated to local, seasonal and sustainable practices; wineries are asked to only pour wines made from BC grapes.

CELEBRATE 30 YEARS WITH VICTORIA’S JAZZFEST

TD Victoria International JazzFest | Various Venues | 250-388-4423 | jazzvictoria.ca Each year, Canadian and international musicians descend upon Victoria for a ten-day festival featuring jazz, blues and world music. Produced by the Victoria Jazz Society, the TD Victoria International JazzFest celebrates its 30th anniversary this summer. With over 350 musicians—including headliners like Hiromi, Bobby McFerrin, Cassandra Wilson and Maceo Parker—and 85 performances on nine stages, Victoria’s longest-running music festival is not one to be missed. And with 35 free performances included in the mix, it offers a unique opportunity to experience music from around the world. Join the anniversary celebration on June 22 in Centennial Square with free concerts from noon to 10:00 pm. For a more detailed schedule and information such as where to buy tickets, visit jazzvictoria.ca.

“I like to say that Taste is a festival with a conscience,” says Kathy McAree, founder and producer. “Guests experience some of the best island food and many award-winning BC wines all while rubbing shoulders with fabulous chefs, vintners, cheese-makers and more.” Taste is about more than simple tastings though. McAree says, “Food and wine festivals are all about celebration, indulgence and fun, and with Taste we make sure that the fun component comes with even more.” Taste Victoria runs July 24 – 27 at various venues.

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INSPIRED 3 ORIENT ROUND UMBRELLA

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CUBE 5 THE OUTDOOR ELEMENT

STARTER 4 CONVERSATION XXS COCKTAIL TABLE A unique shape makes this cocktail table the centre of attention. A matte lacquer finish keeps it sleek. Available at Roche Bobois 716 Hastings St. W Vancouver | 604.633.5005

roche-bobois.com

Spark’s Cube fire element infuses outdoor living with dynamic contemporary design. Close the stainless steel Cube for an envy-inducing art object. Available at Spark Modern Fires Find a dealer near you | 866.938.3846

sparkfires.com

naturally inspiring

hotel | restaurant | spa

scape to the natural tranquility, beauty, and comfort of Black Rock Oceanfront Resort – an extraordinary retreat on Vancouver Island’s rugged west coast. Our magnificent oceanfront resort in Ucluelet, British Columbia, combines contemporary comfort and quality service with the organic energy of Canada’s western frontier for an enchanting vacation experience. Designed with a deep respect for the land and sea, Black Rock’s innovative architecture contrasts the Wild Pacific landscape. Expansive spaces, natural light and breathtaking seaward vistas create a passionate connection to the freedom and serenity of Vancouver Island’s magical coast.

Ucluelet, U l l t BC • 1 1-877-762-5011 877 762 5011 • w w w.blackrockresort.com

JUNE/JULY 2014

Black Rock Resort is one of the most stunning new outposts on Canada’s wild Pacific coast.

ADVERTISING FEATURE

LOOK WHAT I FOUND! LIGHTING FINDS FOR YOU

RED DRESS 1 LITTLE PENDANT LIGHT Add interest and illumination to your space with the Globus Squash pendant. A single fabric element is manipulated into a fluid and provocative fixture. Available at Illuminations Lighting Solutions 5-601 Boleskine Rd. Victoria | 250.384.9359

illuminationsbc.com

THE FULL SPECTRUM LED FLOOR LAMP

The Reach Floor Lamp pushes the envelope on high end design. The magnifier shield widens the light cast by the 7.2-watt LED chip, intensifying the brightness. The shade rotates and adjusts to function as reading or ambient light. Available at Parc Modern 589 Bay St. Victoria | 250.590.1110

parcmodern.com

GYRO 3 GORGEOUS CRYSTAL CHANDELIER Inspired by nineteenth-century experimental physicist Leon Foucault’s Gyroscope—the Gyro Crystal Chandelier has been reinterpreted into a bold fixture contrasting the industrial look of the scientific instrument with the romantic look of precision cut crystal. Available at Luxe Home Interiors 2655 Douglas St. Victoria | 250.386.7632

luxevictoria.ca

SPOTS 4 SUN TRIPOD SPOTLIGHT Unique design and mixed materials—aluminum, brass and steel—make this spotlight stand out in a crowd. Available at Muse & Merchant 661 McCallum Rd. Victoria | 250.474.3433 1711 Bowen Rd. Nanaimo | 250.753.8900

museandmerchant.com

DAY 5 MAY TABLE LAMP Facing up or down, this table lamp will light up your space. Plug in the five-metre-long cord and take it anywhere in the room. Available at Gabriel Ross Inc. 2500 Rock Bay Ave. Victoria | 250.384.2554

grshop.com

FOR WORK THAT MATTERS At KMA Chartered Accountants Ltd., our team of experienced Chartered Accountants can help you and your business with all of your reporting requirements. Personal Finance & Taxes Corporate Services Business & Advisory Services US and Canadian Taxes

kmacpa.ca

•

Serving Vancouver Island

•

250.758.5557

JUNE/JULY 2014

Douglas K. Parkhurst, CA CPA (Illinois) Partner

SOURCE INDEX

H&L’S FEATURE HOME SUPPLIERS

ELANGENI

PAGE 44

CONSTRUCTION TS Williams Construction 250.821.4767 tswilliams.ca

APPLIANCES Coast Wholesale Appliances 250.475.0277 | Victoria 250.758.4044 | Nanaimo coastappliances.com

COUNTERTOPS Stone Age Marble & Granite 250.386.5954 stoneagemarble.com

KITCHEN AND BATH FIXTURES Wolseley Kitchen & Bath Classics 250.751.7584 kitchenandbathclassics.com

CARPET AND HARDWOOD Abba Floorcoverings 250.758.5588 abbafloorcoverings.ca

KITCHEN AND BATH CABINETS Mid Island Cabinets 250.585.2118 midislandcabinets.com

HOME DESIGN Structure Design 250.752.1920

LANDSCAPE DESIGN Jim Joslin 250.954.9378 jimjoslin.com HOME AUTOMATION/SECURITY SYSTEMS Insight Home Solutions 888.447.1998 insightai.com DECK K & S Railings 250.754.9003 kandsrailings.ca MASONRY CMR Masonry 250.739.1119 STONE Island Stone 250.743.4250 islandstone.ca

MILLWORK Canadian Bavarian Millwork and Lumber 250.246.2888 canbav.ca INTERIOR DESIGN Interior Design Group 250.751.0922 bcinteriordesigngroup.com LIGHTING FIXTURES Mclaren Lighting 250.758.0138 mclarenlighting.com

WINDOWS AND EXTERIOR DOORS North Pacific Window 250.752.5312 northpacificwindow.ca

GARAGE DOOR Hunter Overhead Doors 250.248.0266 hunteroverheaddoors.ca

All suppliers listed to the best of our knowledge, provided by TS Williams Construction. Find more great suppliers on page 94’s Source Index or online at HLmagazine.com. Love this home? Visit H&L’s Feature Home Slideshows online to see more wonderful pictures of this feature home and many others.

YOUR GREATEST ESCAPE CANADA’S GULF ISLANDS AUGUST 2014

Luxury Real Estate Auctions

For further details, contact us or subscribe to our newsletter. www.luxuryauctionhouse.com +1 778 484 5300

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WEB EXCLUSIVES

FOUND ONLY AT HLMAGAZINE.COM

Can’t get enough of Homes & Living magazine? We are pleased to offer our readers even more educational and inspirational features to enhance your home and life in-between issues. Below is a sampling of more great articles that can only be read in full online.

SOURCE INDEX EDITOR’S MESSAGE Page 12 Photograph by Ema Peter, emapeter.com; Image retouching provided by Christine Faminoff, christinafaminoff.com; Make-up by Rene Menendez, renefrancisco.com; On location at Hotel Arts (front lobby), hotelarts.ca

CELEBRITY PROFILE: JANN ARDEN

BEAUTY BORN OF PRIDE BY JACLYN DEAN

Photograph by Andrey Bayda

Spain’s beauty is well known and includes architecture that stands among some of the best in the world. However, its Catalan Modernism architecture—born of protest and pride—often falls silent, its independence cry muffled. Learn about the history of Modernisme: The Catalonian Renaixança.

VASTU SHASTRA: CREATING SERENITY AND WEALTH BY JACLYN DEAN Vastu Shastra—an ancient architecture art born over three thousand years ago—is a great way to construct your home with happiness and prosperity. Find our tips for incorporating this ancient art into your home.

TIME TO SELL YOUR BUSINESS BY DOUG PARKHURST When it’s time to sell your business think about what you’re selling and whether you’re telling the right story. These expert tips will help you decipher where to start, and how to lay the groundwork for success.

VIEW BROCHURES TODAY! HLMAGAZINE.COM

Page 18-23 Jann Arden, jannarden.com; Photographs by Ema Peter, emapeter.com; Image retouching provided by Christine Faminoff, christinafaminoff.com; Creative Direction by Karla Peckett with Homes & Living magazine, hlmagazine.com; Make-up by Rene Menendez, renefrancisco.com; On location at Yellow Door Bistro, yellowdoorbistro.ca; A big thank you to Hotel Arts for their hospitality, hotelarts.ca

FAR OUT HOMES Page 24-32 Architecture by Tom Kundig and Olson Kundig Architects, olsonkundigarchitects.com; General contracting by Young Construction; Photographs provided by Olson Kundig Architects; Photographs by Nikolas Koenig, nikolaskoenig.com; Tim Bies, timbiesphotography.com; Jim Bartsch, jimbartschphotographer.com

DESIGNER PROFILE: LYNN CLARKE Page 40-43 Photographs provided by Portico Design Group; Photographs by Geoff Livingston, geofflivingston.ca; HA Photography, haphotography.com

ARCHITECTURE SECTION Page 52-59 DEFINING ICONIC Page 52 Burj Al Arab Hotel: jumeirah.com; Designed by British architect Tom Wright, wkkarchitects.com; Photographs by Subbotina Anna, shutterstock.com Page 53 The National Grand Theatre: Photographs by Songquan Deng, shutterstock.com; Zhu Difeng, shutterstock.com Page 54 St. Mary Axe, known informally as the Gherkin: Designed by Foster and Partners, fosterandpartners.com; Photographs by Dan Breckwoldt, shutterstock.com; Ron Ellis, shutterstock.com Page 54-55 Edmonton City Hall: Designed by architect Gene Dub, dubarchitects.ca; Photographs by Bruce Raynor, shutterstock.com Page 55 Indian Institute of Management: Designed by American architect Louis Kahn; Photograph by Scott Norsworthy, shutterstock.com Page 56 Beijing National Stadium: Designed by architects Jacques Herzog and Pierre de Meuron, herzogdemeuron.com; Photograph by Eastimages, shutterstock.com Page 58-59 Vancouver House: Renderings provided by Westbank Projects Corp., westbankcorp.com Page 60-62 HIGH PERFORMANCE HOMES Page 60-61 The In-Between House: Photograph provided by Michel Labrie Architect inc., mlarchitect.ca; Photograph by Roger Brooks Photography, rogerbrooks.ca; Solar assessment rendering by Michel Labrie Architect inc. Page 62 Power-Pipes: RenewABILITY Energy Inc., renewability.com Page 64-66 CHRISTOPHE CARPENTE Architecture and Design by Christophe Carpente, caps-architects.com; All photographs provided by CAPS Page 64 De Beers Jewellers Vancouver: Photograph by Alexander Gerchikov Page 65 Escada, Los Angeles: Photographs by Jean-Philippe Defaut Page 66 Dunhill, New York: Photographs by Edi Huber Page 68-71 CORNELIA HAHN OBERLANDER Landscape Architecture by Cornelia Hahn Oberlander, corneliaoberlander.ca Page 68 Portrait photograph provided by Cornelia Hahn Oberlander Page 68-71 Photographs by Michael Elkan, michael-elkan.photoshelter.com Page 72-74 IN THE DRIVER’S SEAT Page 72-73 Form Follows Function: Photograph provided by Daan Mulder (Designer), daanmulder.eu; Wave Series: Photograph provided by Merganzer Furnitur, merganzer.com Page 74 Zero Chaise: Photograph provided by Nolen Niu, Inc., nolenniu.com; Light and Space, Photograph provided by EGO Paris, egoparis.com

TRANSFORMATIONS: THE SALT BUILDING Page 80-81 Photographs provided by Anstice Communications, ansticecom.com; McKinley Burkart, mckinleyburkart.com

Look for this icon in ads in H&L then visit HLMAGAZINE.COM to download free brochures from our esteemed advertisers. HLMAGAZINE.COM

COMMUNITY CHARACTER: VICTORIA’S ARCHITECTURE Page 84-85 Photographs provided by John Adams, discoverthepast.com

IDSwest Produced by

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JUNE/JULY 2014

Celebrate 10 years of IDSwest with Sarah Richardson, known for creating innovative, awardwinning design solutions that speak directly to the goals and tastes of a contemporary audience. Donâ&#x20AC;&#x2122;t miss Sarah on the Design Stage at IDSwest 2014.

LOOKING FORWARD

GET READY FOR OUR AUGUST/SEPTEMBER HOME FURNISHING ISSUE AUGUST/SEPTEMBER 2014

HOME FURNISHING ISSUE

MOVABLE OBJECTS FOR BEAUTIFUL LIVING SPACES. Architecture forms the structure of our spaces but what about the way we fill them? Delve into the world of industrial design and all things home furnishings in this issue of H&L—we’ll help you furnish an exceptional home.

Look for the August/September Home Furnishing issue on major newsstands the week of July 21, 2014.

FIND HOMES & LIVING AT THESE MAJOR NEWSSTANDS AND MORE: Major airports, BC Ferries, Home Depot, Lowes, Chapters/Indigo Book Stores, Thrifty Foods, Save-On-Foods, Shoppers Drug Mart, London Drugs, Overwaitea Food Group, Loblaws Companies, Fairway Markets, Safeway, Quality Foods, 7-Eleven and Pharmasave to name a few.

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Photograph provided by Giellesse, giellesse.it

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EXTRAORDINARY SURFACE

Specializing in Kitchen Countertops since 1997

345 John Street, Victoria 250.386.5954 stoneagemarble.com