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Intersections : theatres, speculative offices + a skytrain station on the edge of Thornton park Uhrich, William Edward 1998

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INTERSECTIONS: THEATRES, SPECULATIVE OFFICES + A SKYTRAIN STATION O N THE EDGE OF THORNTON PARK by WILLIAM EDWARD UHRICH B. Comm., The University Of British Columbia, 1 989 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE DEGREE OF MASTER OF ARCHITECTURE in THE FACULTY OF GRADUATE STUDIES School of Architecture We accef^nhis thesis^ps conforming to jhe, required standard ^ T H E UNIVERSIT/OF BRTJPfSH O ^ U M B I A MerCrTl998 ©William Edward UhrichJ 998 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of A-Z.cH)T£-CTJ&£ The University of British Columbia Vancouver, Canada Date AT*"- *°, HI* DE-6 (2/88) ABSTRACT A city's intersections are places or voids where the trajectories, paths and commuter routes of a cities citizens collide. They are points of momentary stasis. At intersections the agents of speed and haste characteristic of the flow of the city are brought to a collective pause. The challenge of this thesis was to bring about an architectural representation of this negotiation between flow and pause. There was a desire to see the commuterscape of Vancouver as a way of allowing different publics and contrasting programmes the opportunity for chance encounters and collisions. This desire led to the design of a building which served as an intersection, sometimes carefully controlled while at others free and open to the random flows of urbanism. The site at the corner of Main and Terminal streets in Vancouver was chosen because it is a place where the di verse social, economic and historical fabrics of the city are intersecting. This site is the busiest at grade intersection in Vancouver where skytrain and bus passengers, car drivers and pedestrians are variously pushed together and pulled apart. Commuter space and commuter movement through that space are generally assumed to be unproductive, uninfected movement through vacuous and empty space. This thesis challenges that view by inserting a building into this commuter space to utilize the potentials for exchange, negotiation and encounter offered by such a space. The building is made up of two very different programs - one containing a series of small performing arts theatres, the other commercial and rentable office space. In between the two, the inbound and outbound skytrain tracks and a public walkway create varying perceptual experiences which mediate between the two different typologies. The public zones of the building are used to link the varied programs together and to create connections to the surrounding park and buildings. TABLE OF CONTENTS Abstract o Table of Contents iii Acknowledgement iv Ground Floor Plan East of Main Street 1 Ground Floor Plan West of Main Street 2 Platform Level Plan 3 Performance Theatre Level Plan 4 Section A A ; Cross Section Through Lobby 5 Section BB; Cross Section Through Theatres 6 Section CC; Longitudinal Section Through Theatres 7 Perspective Sketch From Office Building Looking Through to Marquee Wall 8 Perspective Sketch Showing Cantilevered Experimental Theatre Lounge 9 Photograph of Site Model 10 Photograph of of North Elevation of Detail Model 11 Photograph of South Elevation of Detail Model 12 Photaograph of Interior South Elevation of Detail Model 13 Photograph of West Elevation of Detail Model 14 iii ACKNOWLEDGMENT I Would like to thank my DS mentor and committee member Sherry McKay for allowing me to venture down intriguing paths which I had not previously discovered. Her insight and patience are greatly appreciated. Also, Patricia Patkau, my chair for teaching me critical lessons about the creation of architecture and Brad Lamoureux for his valued criticism. A special thank you for my partner Jill Anholt who is both my muse and my best critic and without whom the completion of this project would have been but a distant dream. I would also like to thank Junior who helped establish important priorities. Finally, and in no particular order, those people that taught me that design is a collaborative process - Nicolas Osenton, Rochelle Bacigalupo, Sue Ockwell, Alex Percy, John Wal l , Neville Doyle, Hugh Bitz, Shawn Bleet, Lisa Syverson, and Amanda Levy. IV 9 10 11 13 


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