Hastings Track (2013) 70”x40” acrylic on canvas by Taralee Guild, available at Art Junction. I first saw this on the 2013 Culture Crawl, and I must say, everything about this canvas is impressive! I took an action shot on Instagram in order to keep the memory of this painting alive, but I recommend you see it in person!
Of primary importance to the success of this building is the function and appeal of the public plaza. The integration of a large public space into the base of a tower requires careful consideration of openness, animation, and interest. It becomes a focal point around which the tower evolves and responds.
To create a visually appealing and unique space the concept for the park is a carving away of the base of the tower. An undulating form is revealed in the soffit that stands in contrast to the sleek glass above and distinguishes the plaza as a public space. The corner is lifted high to allow as much light as possible to enter the plaza, and the edges of the site mediate the changes in grade to allow multiple points of access and transparency for increased safety.
The tower acknowledges and responds to its neighbours and surrounding context. The curved corner and gentle roof peak address the street corner and the primary views of the building while maintaining some of the design language of the plaza. The proximity of the neighbouring buildings is addressed with two gently curved setbacks that serve to bring additional focus to the plaza and also maintain some separation and views between the buildings.
I came across this application thanks to Heritage Vancouver, after researching the building that was on the site previously, the Empire Building. I did a then and now mockup here which I have also included above. A glass dome sits on the site currently, creating a rather curious semi-public space in the city, which may not be with us for much longer if this application is built.
I should announce that I will be featuring architectural renderings in a big way in the near future; watch for more info in following posts!
I have no political agenda. I have no historical perspective. I have no social ramifications I’m seeking to address. What I do have is lots of paint and a fat brush. The fat brush and brash gobs of paint don’t permit me to fret or obsess. The fat brush doesn’t allow me to wallow in incidental detail. The fat gobs don’t permit me to remain in one place and burrow into concerns. I move on. I allow for accidents. I revel in movement. I paint accidental psalms. This is what the art does. It moves me into little fugue vortexes. The art, the paint, the brush is the only process…
Here are some more for my upcoming show. It’s at the gallery in the Unitarian Church on 49th and Oak here in Vancouver. It’ll run from September 16th to October 15th, and there’s a reception on Sunday the 22nd from 2:30-5…This church is an amazing community member. They put on a great organic farmers market every Wednesday…There are two awesome gallery spaces, one in the sanctuary and another called the Fireside Room, and they always have interesting shows…
artists against artists - 2011 dtes woman’s housing march, a monochromatic painting mounted to the construction wall right in front of the former Pantages Theatre on Hastings Street. More photos from the walk here.
East Hastings, 2012, Oil on Canvas, 48 x 60”
Mark Boyko’s canvasses are forcefully immersive and strikingly beautiful to look at. They are especially successful when seen in person and on a large scale. With elongated brushtrokes bursting from a strong vanishing point, Mark invites the audience into his bleary Vancouver landscapes. Despite their monochromatism, the paintings have an energy which breathe both inwards and outwards, sometimes highlighted by a single stroke or fleck of pale colour.
A student of world-renowned superstar artist Alessandro Papeti, Boyko, fortunately for us, has translated this painting technique to capture his hometown of Vancouver in an aesthetic language that depicts space as emotion rather than description.
Kenworth Truck Calendar, acrylic painting from 1979 by George McLachlan. The scene depicts the corner of Granville and Hastings, a popular intersection to take a picture perfect postcard, as many images in the Vancouver Archives are taken from this very same vantage point.
The name Kenworth came into being in 1923, and this truck appears to be from this early era. The style of manned traffic light system shown here remained in effect until 1928, according to Chuck Davis. This would explain why the Trorey Clock is missing from the painting, as Birks had purchased the Trorey business back in 1907 and moved the clock up to Georgia & Granville in 1913.
The lost murals of James Blomfield. Until I read the book A National Soul: Canadian Mural Painting, 1860s-1930s by Marylin J. McKay, I was not aware that James Blomfield had painted these two murals in the former Royal Bank building at the corner of West Hastings and Homer (now part of VFS). From Volume 18 (1905), Issue 10, page 149 of the Canadian Architect and Builder (available online btw), here’s the brief text description:
These wall paintings have an allegorical reference to Vancouver and the Royal Bank. Vancouver Triumphans represents the rising City of Vancouver with Industry on one side and Agriculture on the other. The figure in the lower panel is a personification of Acadia, representing the Maritime Provinces in which the Royal Bank had its origin. The coats of arms inserted in the frame round Acadia are those of the Crown, New Brunswick, Nova Scotia and, (at the bottom) the City of Halifax, which is the parent city of the Bank.
Vancouver Triumphans may have actually inspired Paul Goranson consciously or subconsciously when he drew this proposal for the British American Bank Note Company in the 1930s.
I can’t tell exactly where these murals would have been painted, but perhaps we can determine this after a closer look inside the building. Though I can’t be sure, these murals may actually be buried under a few layers of paint!
Speaking of lost murals, another one of James Blomfield’s greatest works was destroyed by fire on April 15, 1957. James had painted the ceiling of the ballroom at Government House in Victoria in 1903. From page 31 of A National Soul: Canadian Mural Painting, 1860s-1930s:
The work was composed of colossal figures of Indian warriors on the spaces between the ceiling arches, connecting by an interlace design of pine cones, pine needles, dogwood, and other local flora. Painted with the totems (protective spiritual images) of various Northwest Coast Native tribes, these figures appear as “Canadianized” classical personifications.
Images B-08471, C-07768, D-03031, E-02750 of Government House are from the BC Archives. But if anyone has any pre-1957 images in colour, please let me know!
Special thanks to the VPL librarian for your assistance with this post!
Only Seafood III by Kellie Talbot, who is having a solo show entitled "AMERICAN LANDSCAPES" at the Smash Gallery from February 1st to March 2nd, 2013.
Hastings and Cambie Streets, Vancouver in 1905 (aka the Flack Block) and the Planetarium (now aka the Museum of Vancouver) by Vera Skye, 1975, from Dick MacLean’s Guide, December 1-14, 1976. Vera was featured in the magazine with a complete bio, which describes how she came to Vancouver from Ontario at age 16, traveled alone to the South Sierras, and worked as a lettering designer and assistant manager at the Old Pender Ballroom.
Heritage Vancouver tells the story of the 1908 Pender Ballroom here, but confuses the address slightly with its neighbour to the east, 319 West Pender Street. The Pender Ballroom was destroyed by fire in July of 2003. Pacific Coast Apartments was built in its place, construction occurring from November 23, 2009 to completion in April 2011 at 337 West Pender Street. As ChangingCity states, “Once home to Grateful Dead concerts, the site now provides 96 units of housing…”
Merry Christmas from the Beacon on Hastings Street, a painting & Christmas card by Tom Carter. Tom writes on his Christmas card:
My friend Arthur Irving suggested the subject of this year’s card, the Beacon Theatre (built as the second Pantages in 1917, subsequently the Hastings Odeon and finally the Majestic before it was demolished in 1967). Arthur fought valiantly to save this theatre in the 1960’s but at that time, unbelievably as it is for us now, not enough people cared and it was lost. Thanks to Arthur’s dedication and hard work at that time, a wealth of information has been kept about this theatre - without a doubt the finest theatre ever built in Vancouver.
The letters spelling Merry Christmas are to a certain extent, artistic license, not based on an actual photograph, but instead inspired by the giant marquee letters that were changed regularly depending on the title of the show. The signs shown above include The Birth of a Nation in Sound, March 31, 1932 (VPL 11021); 5 year old boy psychic Jackie Merkle, December 20, 1932 (CVA 99-4282); and Texas Guinan in her 1929 film Queen of the Night Clubs, October 28, 1933 (CVA 99-4563).
Merry Christmas, everyone!
Ted Harris Paints by Won Kang, via his blog.
British Columbia Electric Company Limited, convertible sinking fund debenture, 6% series B for $1,000, dated November 1, 1959. An engraving of the Electra building features prominently; it would have been just 2 years old at the time; here’s a brochure of the Electra from 1957. This certificate was seen on the CentreA tour of the old BC Electric Terminal (1912) last Saturday. They will be offering another tour Friday, September 28 and Saturday, September 29: 2-3pm as part of Culture Days in Canada. RSVP required.