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Revealing an ocean edge Dick, Beryl Allen 2005

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Revealing an Ocean Edge by Beryl Allen Dick B.Sc. University of British Columbia, 1975 M.Sc. Queen's University, 1980 A thesis submitted in the partial fulfilment of the requirements for the degree of Master of Landscape Architecture in The Faculty of Graduate Studies (Landscape Architecture) The University of British Columbia February, 2005 © Beryl Allen Dick, 2005  Revealing  an Ocean  Edge  Abstract A design is developed for a community park on the o c e a n e d g e of West Vancouver, British Columbia. The guiding design goal is to achieve a sensitive response to the essence of this e d g e . The experience of this o c e a n , land a n d sky interface is explored as are its conditions of context and memory. Overarching design responses are presented a n d a conceptual design is articulated. The design of the park attempts to reveal the tactile nature of this o c e a n e d g e . The design is authentic to today yet the hope is that it will inspire experimentation a n d c h a n g e with time. The park will have a quality of stable impermanence, like the e d g e where it is found.  Revealing an Ocean  Edge  Table of Contents Abstract  ii  Table of Contents  iii  List of Plates Acknowledgements  vi xiii  1.  Introduction  1  2.  The Essence of Place  3  2. 1 Design Objective 2.2 Des/'gn Philosophy  3 3  2.3  Design Methodology  4  The Ocean Edge Experience  9  3.  3.7 3.2 3.3 3.4 3.5 3.6 3.7 3.8 3.9  Introduction Quality of Light W/nd Rain and Surface Runoff Access/'b/e, Interactive Ocean Edge Weave of Sounds Views fo the Horizon Public-Private Dialectic Summary  9 10 12 13 14 15 16 17 17  Revealing  4.  5.  an Ocean  Edge  Conditions of Context  18  4.1 4.2 4.3 4.4 4.5 4.6  18 18 21 26 30 32  Introduction Adjacencies Fabric Connections Pedestrian Circulation The Land-Ocean Interface  Memory  36  5.1 5.2 5.3 5.4  Introduction The 17th Street Pier The 14th Street Pier An Ax/'s of History, Culture and Community  36 36 38 39  5.5  Ro/7  40  6.  Program  41  7.  The Concepf  44  7.7  Introduction  7.2  An Overview  46  7.3 7.4  An Access/b/e, Interactive Ocean Edge A Stroll Along the Edge 7.4.1 Navvy Jack House and Garden 7.4.2 Lawson Creek, Lawson Creek Sanctuary and The Great Lawn 7.4.3 The Argyle Arts Pavilion and Gallery and John Lawson Pier  53 57 57 59  44  66  Revealing  7.4  7.5 7.6 8.  an Ocean  Edge  A Stroll Along the Edge continued... 7.4.4 The Harmony Arts Parkland 7.4.5 The Solar Slopes 7.4.6 The Edge Performance Plaza, Sand Theatre and Wind Garden 7.4.7 The Bosque and The Galleria 7.4.8 The Patio and Garden at the Ferry Building Gallery 7.4.9 Ambleside Landing Pier Threading the Park together, Linking it to the Community The Urban Edge  Final Thoughts  References  75 78 80 86 88 89 90 97 101 102  Revealing an Ocean  Edge  List of Plates Plate 1.1 Plate 1.2  Argyle Waterfront, photo from www.icon.bc.ca Argyle Waterfront, aerial photo from wvvwv.globalairphotos.com  1 2  Plate 2.1  Boa Nova Restaurant, Portugal, Alvaro Siza, 1958-1963, photo from Nakamura, 1989 Boa Nova Restaurant, Portugal, Alvaro Siza, 1958-1963, photo from Nakamura, 1989 Boa Nova Restaurant, Portugal, Alvaro Siza, 1968-1963, photo from Nakamura, 1989 Entrance to swimming pool, Leca de Palmeiro, Portugal, Alvaro Siza, 1961-1966, photo from Frampton, 2000 Children's swimming pool, Leca de Palmeiro, Portugal, Alvaro Siza, 1961-1966, photo from Nakamura, 1989  4  Plate 2.2 Plate 2.3 Plate 2.4 Plate 2.5  Plate 3.1 Plate 3.2 Plate 3.3 Plate 3.4 Plate 3.5 Plate 3.6 Plate 3.7 Plate 3.8 Plate 3.9 Plate 3.10 Plate 3.11 Plate 3.12 Plate 3.13 Plate3.14 Plate 3.15 Plate 3.16 vi  child on beach, photo by author, 2004 light and shadow, photo by author, 2003 light and shadow, photo by author, 2003 beach, ocean and sky, photo by author, 2004 morning, photo by author, 2004 night, photo from www.pbase.ca wind, photo by author, 2004 waves, photo by author, 2004 Lawson Creek, photo by author, 2003 concrete storm sewer pipe, photo by author, 2003 child on beach, photo by author, 2004 driftwood fort, photo by author, 2004 freighter, floatplane, waves, seagulls, photo by author 2004 freight train, photo from www.pbase.ca horizon, photo by author, 2004 patio, photo by author, 2004  5 5 6 6  9 10 10 10 11 11 12 12 13 13 14 14 15 15 16 17  Revealing an Ocean Plate 4.1 Plate 4.2 Plate Plate Plate Plate Plate Plate Plate Plate Plate Plate  4.3 4.4 4.5 4.6 4.7 4.8 4.9 4.10 4.11 4.12  Plate 4.13 Plate 4.14 Plate 4.15 Plate 4.16 Plate 4.17 Plate 4.18 Plate 4.19 Plate 4.20 Plate 4.21 Plate 4.22 Plate 4.23 Plate 4.24  Edge  Conditions of c o n t e x t l o c a t i o n m a p , aerial p h o t o from www.globalairphotos.com Fabric of Argyle Waterfront Land, aerial p h o t o from District of West V a n c o u v e r A m b l e s i d e Landing, p h o t o by author, 2004 Public b o a t l a u n c h , p h o t o by author, 2004 Hollyburn Sailing C l u b , p h o t o by author, 2004 Artist at H a r m o n y Arts Festival, p h o t o by author, 2003 Lawson C r e e k flowing o v e r b e a c h , p h o t o by author, 2004 Lawson C r e e k in o p e n culvert, p h o t o by author, 2004 Existing v e h i c u l a r c o n n e c t i o n s Existing pedestrian c o n n e c t i o n s V i e w south from Bellevue A v e n u e , p h o t o by author, 2004 T o p o g r a p h i c m a p , aerial p h o t o from District of West V a n c o u v e r Existing conditions of visual c o n n e c t i v i t y , aerial p h o t o from District of West V a n c o u v e r Existing e n t r a n c e to J o h n Lawson Park from 17th Street, p h o t o by author, 2004 Waterfront p e d e s t r i a n w a l k w a y , aerial p h o t o from www.globalairphotos.com C e n t e n n i a l S e a w a l k , p h o t o by author, 2004 Argyle A v e n u e , p h o t o b y author, 2004 C a p i l a n o River r e c r e a t i o n a l p a t h w a y , p h o t o from www.globalairphotos.com B e a c h c o m p o s i t i o n , p h o t o by author, 2004 O c e a n w a t e r d e p t h s , c h a r t from C a n a d i a n H y d r o g r a p h i c Service C o n c r e t e retaining w a l l o n b e a c h , p h o t o by author, 2003 V i e w to Lions G a t e Bridge, p h o t o by author, 2003 V i e w to Stanley Park a n d city of V a n c o u v e r , p h o t o by author, 2004 Argyle Waterfront L a n d piers, aerial p h o t o from District of West V a n c o u v e r  19 21 22 23 23 24 25 25 26 27 28 28 29 29 30 30 31 31 32 32 33 34 34 35  Revealing an Ocean Edge Plate 4.25 Plate 4.26  Pier at 14th Street, p h o t o b y author, 2004 Pier at 17th Street, p h o t o by author, 2004  35 35  Plate 5.1  M e m o r y of 17th Street, aerial p h o t o from District of West V a n c o u v e r D o n c e l l a ferry d o c k e d at Hollyburn Wharf, 1913, p h o t o from West V a n c o u v e r M u s e u m a n d Archives V i e w d o w n 17th Street, p h o t o from West V a n c o u v e r M u s e u m a n d Archives Pier a t 14th Street a n d ferry ticket office, p h o t o from West V a n c o u v e r M u s e u m a n d A r c h i v e s 17th Street axis of history, culture a n d c o m m u n i t y , aerial p h o t o from w w w . g l o b a l a i r p h o t o s . c o m End of the P.G.E. Railway, D u n d a r a v e , 1914, p h o t o from West V a n c o u v e r M u s e u m a n d A r c h i v e s  36  Plate 5.2 Plate 5.3 Plate 5.4 Plate 5.5 Plate 5.6  37 37 38 39 40  Plate 6.1 Plate 6.2 Plate 6.3  Art installation, p h o t o from Brooks, 2002 H a r m o n y Arts Festival, p h o t o by author, 2003 H a r m o n y Arts Festival, p h o t o by author, 2003  41 42 42  Plate Plate Plate Plate  C o n c e p t u a l p l a n of Argyle Waterfront Park O r t h o g r a p h i c of west e n d of park O r t h o g r a p h i c of east e n d of park Spatial pattern of v e g e t a t i o n , aerial p h o t o from District of West V a n c o u v e r W a v e a n d p e b b l e o n b e a c h , p h o t o by author, 2004 Intersection of property lines, street grid a n d w a v e form, aerial p h o t o from District of West V a n c o u v e r P e b b l e s o n b e a c h , p h o t o b y author, 2004 Driftwood, p h o t o by author, 2003 O c e a n water, p h o t o by author, 2003 b e a c h , p h o t o by author, 2004 b e a c h , p h o t o by author, 2004 b e a c h , p h o t o by author, 2004  47 48 49 50  7.1 7.2 7.3 7.4  Plate 7.5 Plate 7.6 Plate Plate Plate Plate Plate Plate  7.7 7.8 7.9 7.10 7.11 7.12  50 51 52 53 54 55 55 55  Revealing an Ocean Edge Plate 7.13 Plate 7.14 Plate 7.15 Plate 7.16 Plate 7.17 Plate 7.18 Plate 7.19 Plate 7.20 Plate Plate Plate Plate Plate Plate Plate Plate Plate  7.21 7.22 7.23 7.24 7.25 7.26 7.27 7.28 7.29  Plate 7.30 Plate 7.31 Plate 7.32 Plate Plate Plate Plate Plate  7.33 7.34 7.35 7.36 7.37  p r o p o s e d l a n d / b e a c h e d g e , aerial p h o t o from District of West V a n c o u v e r O r t h o g r a p h i c v i e w of The S a n d Theatre a n d Park P r o m e n a d e Stone b l o c k seating in G a n t r y Park, N e w York, p h o t o from www.ecocitycleveland.org Perspective of stone b l o c k seating a l o n g Park Promenade N a v v y J a c k House a n d G a r d e n , c o n c e p t u a l p l a n O r t h o g r a p h i c v i e w of N a v v y J a c k House a n d G a r d e n O r t h o g r a p h i c v i e w of L a w s o n C r e e k , Lawson C r e e k S a n c t u a r y a n d The G r e a t L a w n Lawson Creek, L a w s o n C r e e k S a n c t u a r y a n d The G r e a t Lawn, c o n c e p t u a l p l a n Perspective of p a t h to b r i d g e a n d N a v v y J a c k House O r t h o g r a p h i c v i e w of furniture in The G r e a t L a w n O r t h o g r a p h i c v i e w of b e n c h a n d c h a i r B e n c h in section C h a i r in section C h a i r in side s e c t i o n Table a n d chairs Table a n d chairs in s e c t i o n S a n d blasted glass panels, Topher D e l a n e y , p h o t o from C o o p e r a n d Taylor, 2000 o c e a n water, p h o t o b y author, 2004 Perspective of c u r v e d glass walls O r t h o g r a p h i c v i e w of steps to b e a c h at e n t r a n c e to J o h n Lawson Pier The Argyle Arts Pavilion a n d Gallery, c o n c e p t u a l p l a n O r t h o g r a p h i c v i e w of The Argyle Arts Pavilion a n d G a l l e r y Existing waterfront buildings a n d c o m m e r c i a l / r e s i d e n t i a l P r o p o s e d waterfront buildings a n d c o m m e r c i a l / r e s i d e n t i a l Eulogy to the Horizon, E d u a r d o Chillida, 1990, p h o t o from Wagner  54 55 56 56 57 58 59 60 60 62 61 62 62 62 63 63 64 64 64 65 66 66 67 67 68  Revealing Plate 7.38 Plate 7.39 Plate 7.40 Plate 7.41 Plate 7.42 Plate 7.43 Plate Plate Plate Plate Plate Plate Plate Plate Plate Plate  7.44 7.45 7.46 7.47 7.48 7.49 7.50 7.51 7.52 7.53  Plate 7.54 Plate 7.55 Plate 7.56 Plate 7.57 Plate 7.58 Plate 7.59 Plate 7.60  an Ocean  Edge  P e r s p e c t i v e of the Gallery a n d the horizon Atelier Mimesis, G e r m a n y , Peter Haimerl, Ralph Feldmeier a n d M a r i a Laurent, 1993, p h o t o from N e w h o u s e Rodin M u s e u m , Seoul, Korea, Kevin K e n n o n , 1999, p h o t o from Trulove Rodin M u s e u m , Seoul, K o r e a , Kevin K e n n o n , 1999, p h o t o from K e n n o n S o n n e n h a u s e n estate, G e r m a n y , Herbert Dreiseitl, p h o t o from Dreiseitl et al. Town square in G u m m e r s b a c h , G e r m a n y , Herbert Dreiseitl, p h o t o from Dreiseitl et al. P e b b l e s in trough, Javier Sordo, p h o t o from Y p m a Flow of rainwater, Argyle Arts Pavilion a n d G a l l e r y P e r s p e c t i v e of Pavilion a n d p e b b l e - f i l l e d trough P e r s p e c t i v e of The Pier P r o m e n a d e from J o h n Lawson Pier W e d d i n g o n pier, p h o t o from g o o g l e i m a g e s R e l o c a t i o n of J o h n Lawson Pier O r t h o g r a p h i c v i e w of J o h n Lawson Pier H a r m o n y Arts Parkland, c o n c e p t u a l p l a n O r t h o g r a p h i c v i e w of H a r m o n y Arts P a r k l a n d Listening Pavilion, Kalkriese A r c h a e o l o g i c a l M u s e u m Park, G e r m a n y , A n n e t t e G i g o n a n d Mike G u y e r , 1998-2001, p h o t o from G i g o n et al. Pavers in grass, D a n Kiley, 1994, p h o t o from C o o p e r a n d Taylor, 1996 O r t h o g r a h i c v i e w of The Solar Slopes The Solar Slopes, c o n c e p t u a l p l a n P e r s p e c t i v e of v i e w to horizon a n d park from t o p of The Solar Slopes Wind v a n e s a n d glass wall, b a s e of The Solar Slopes The E d g e P e r f o r m a n c e Plaza, The S a n d Theatre a n d The W i n d G a r d e n , c o n c e p t u a l p l a n O r t h o g r a p h i c v i e w of The E d g e P e r f o r m a n c e Plaza, The S a n d Theatre a n d The Wind G a r d e n  68 69 69 69 70 70 71 71 72 73 74 74 74 75 75 76  77 78 78 79 79 80 80  Revealing an Ocean Edge Plate 7.61 Plate 7.62 Plate 7.63 Plate 7.64 Plate 7.65 Plate 7.66 Plate Plate Plate Plate Plate Plate  7.67 7.68 7.69 7.70 7.71 7.72  Plate 7.73 Plate 7.74 Plate 7.75 Plate 7.76 Plate 7.77 Plate 7.78 Plate 7.79 Plate 7.80 Plate 7.81 Plate 7.82  O r t h o g r a p h i c v i e w of s e a t i n g for The E d g e P e r f o r m a n c e Plaza Steel b e n c h e s in a m p h i t h e a t r e , France, Kathryn Gustafson, 1995, p h o t o from C o o p e r a n d Taylor, 2000 Birds-eye v i e w of The S a n d Theatre Perspective of The W i n d G a r d e n a d j a c e n t to The E d g e P e r f o r m a n c e Theatre a n d The S a n d Theatre Perspective of The W i n d G a r d e n C o m b s of the Wind, E d u a r d o Chillida, 1977, p h o t o from The 20th Century Art Book Eagle w i n d v a n e , p h o t o from Klamkin C o d w i n d v a n e , p h o t o from Klamkin Sailboat a n d seagull w i n d v a n e , p h o t o from Klamkin Spiral p a v i n g , p h o t o from Brooks O r t h o g r a p h i c v i e w of w a s h r o o m facility Ernst Ludwig Kirchner M u s e u m , Switzerland, A n n e t t e G i g o n a n d Mike Guyer, 1992, p h o t o from N e w h o u s e O r t h o g r a p h i c v i e w of The B o s q u e a n d The G a l l e r i a The Bosque a n d The G a l l e r i a , c o n c e p t u a l p l a n D e Poortere's G a r d e n , Russell P a g e , p h o t o from Schinz a n d v a n Zuylen S h a d o w s o n wall, A n d r e s Casillas, p h o t o from Y p m a O v e r l a p p i n g p e r f o r a t e d steel panels, p h o t o from C o o p e r a n d Taylor 2000 O r t h o g r a p h i c v i e w of The Patio a n d G a r d e n of The Ferry Building G a l l e r y Spiral p e b b l e p a t t e r n tree g r a t e O r t h o g r a p h i c v i e w of A m b l e s i d e L a n d i n g Pier Pedestrian walkways, aerial p h o t o from District of West V a n c o u v e r The P r o m e n a d e linking A m b l e s i d e L a n d i n g with A m b l e s i d e Park, aerial p h o t o from District of West V a n c o u v e r  81 81 82 83 84 84 84 84 84 85 85 85 86 86 87 87 87 88 88 89 90 91  Revealing an Ocean Plate 7.83 Plate 7.84 Plate Plate Plate Plate Plate Plate Plate  7.85 7.86 7.87 7.88 7.89 7.90 7.91  Plate 7.92 Plate 7.93  Plate 7.94  Plate 8.0  Edge  C o n c r e t e p a v i n g with a n a g g r e g a t e e d g e , Javier Sordo, p h o t o from Y p m a C o n c r e t e pavers in grass, D a n Kiley, p h o t o from C o o p e r a n d Taylor 1996 W a l k w a y design Perspective of f e n c i n g a l o n g rail line F e n c e p r e c e d e n t , p h o t o from Atkinson Park e n t r a n c e s a t 17th a n d 16th Streets Park e n t r a n c e at 15th Street A m b l e s i d e c o m m e r c i a l district, c o n c e p t u a l p l a n 15th Street park e n t r a n c e showing drop-off a r e a a n d e x t e n d e d sidewalk 16th a n d 17th Street e n t r a n c e s s h o w i n g Bellevue G r e e n , u n d e r g r o u n d parking a n d p e d e s t r i a n drop-off Winterthur M u s e u m of Art extension, Switzerland, A n n e t t e G i g o n a n d Mike Guyer, 1995, p h o t o from Newhouse Parking h i d d e n b e h i n d glass panels, Winterthur M u s e u m of Art extension, Switzerland, A n n e t t e G i g o n a n d Mike Guyer, 1995, p h o t o from N e w h o u s e time, p h o t o by author, 2003  92 92 93 94 94 95 96 98 99 99 100  100  1 0 1  Revealing an Ocean Edge  Acknowledgements I thank my thesis c o m m i t t e e m e m b e r s , C y n t h i a Girling, Kevin Pike, Inge R o e c k e r a n d J o a n n a Staszniskis for their g u i d a n c e a n d stimulating critiques. I also a p p r e c i a t e the g u i d a n c e of J o h n Bass a t t h e i n c e p t i o n of this project. Hans Breuer, O x a n a Dexter, Lois Enns, S t e p h e n Jenkins, Karen Kristensen a n d C o l e t t e Parsons of the District of West V a n c o u v e r always f o u n d time to answer my questions a n d p r o v i d e d m e with a e r i a l p h o t o g r a p h s , m a p s , reports a n d archival information. I was very fortunate to h a v e h a d during m y three years in the L a n d s c a p e A r c h i t e c t u r e Program at U.B.C., a w o n d e r f u l g r o u p of classmates w h o s e help, friendship a n d creativity w e r e a c o n s t a n t s o u r c e of inspiration. Finally I w o u l d like to thank my children, Darwin, Stefan, A n a a n d A l a n for their p a t i e n c e , e n c o u r a g e m e n t a n d their c o l l e c t i v e ability to see t h e h u m o u r in life's challenges.  Introduction  I.  Introduction  West V a n c o u v e r is a residential suburb of V a n c o u v e r with a p o p u l a t i o n of a p p r o x i m a t e l y 42,000. It is b o u n d e d by the C o a s t Mountains to t h e north a n d Burrard Inlet to t h e south (Plate 1.1). West V a n c o u v e r is a tranquil n e i g h b o u r h o o d with s p e c t a c u l a r views. The thesis p r o j e c t a r e a , w h i c h will b e referred to as t h e A r g y l e Waterfront L a n d , is l o c a t e d o n t h e o c e a n e d g e of West V a n c o u v e r , south of t h e British C o l u m b i a Railway tracks (Plate 1.2). A m b l e s i d e Village, t h e c o m m e r c i a l district of West V a n c o u v e r is l o c a t e d directly t o t h e north of t h e p r o j e c t a r e a . 1  The c o m m u n i t y vision for this waterfront l a n d is t h e c r e a t i o n of a p u b l i c waterfront park. The Argyle Waterfront Land Acquisition P r o g r a m w a s f o r m a l i z e d in t h e 1970's with t h e g o a l of a c q u i r i n g the privately o w n e d waterfront properties a l o n g this o c e a n e d g e . The District of West V a n c o u v e r has a c q u i r e d twenty-four p r i v a t e l y - o w n e d properties since 1975 a n d is c o n s i d e r i n g t h e acquisition of t h e r e m a i n i n g eight as t h e y b e c o m e a v a i l a b l e . Twenty of t h e twenty-four properties a c q u i r e d h a v e b e e n c o n v e r t e d to park a n d c o m m u n i t y use. The r e m a i n i n g four a r e life t e n a n c i e s . A n u m b e r of workshops, studies a n d p u b l i c consultations h a v e b e e n c o n d u c t e d o v e r t h e past 20 years to explore cultural, e n v i r o n m e n t a l a n d e c o n o m i c issues r e l a t e d to t h e d e v e l o p m e n t of t h e p r o p o s e d w a t e r f r o n t park. A variety of c o n c e p t u a l designs for this o c e a n e d g e h a v e b e e n p r o p o s e d . This p r o j e c t a p p r o a c h e s t h e design of the waterfront park from a n e x p e r i e n t i a l p e r s p e c t i v e . Rather t h a n rely o n quantifiable information, t h e g o a l is t o u n d e r s t a n d t h e e s s e n c e of this p l a c e in order to c o n v e y that e s s e n c e to built form.  The name refers to the well-known, narrow residential street Argyle Avenue that currently exists within the waterfront land  Introduction  The Essence of  Place  2.  The Essence of Place  2.1  Design Objective  The guiding design o b j e c t i v e is to design a c o m m u n i t y p u b l i c park for this o c e a n e d g e that reveals the e x p e r i e n c e a n d conditions of c o n t e x t of this e d g e .  2.2  The ultimate goal would be: to grasp that everything in the realm of fact is already theory. The blue of the sky shows us the basic law of chromatics. Let us not seek for something beyond the phenomenathey themselves are the theory  Goethe, January 1873.  Design Philosophy  The guiding design o b j e c t i v e a n d design m e t h o d o l o g y are i n f o r m e d by p h e n o m e n o l o g y . P h e n o m e n o l o g y has b e e n d e s c r i b e d by S e a m o n (2000, 6) as " t h e exploration a n d description of p h e n o m e n a , w h e r e p h e n o m e n a refer to things or e x p e r i e n c e s as h u m a n beings e x p e r i e n c e t h e m " . J o h a n n W o l f g a n g v a n G o e t h e (1789-1832) is k n o w n for his poetry a n d plays but h e also p r o d u c e d a b o d y of scientific work. Direct experiential c o n t a c t w a s the basis for his scientific a p p r o a c h to nature. His w a y of s c i e n c e w a s a n early e x a m p l e of the p h e n o m e n o l o g y of the natural w o r l d . S e a m o n e l o q u e n t l y sums u p the philosophy of G o e t h e , "I b e l i e v e strongly that G o e t h i a n s c i e n c e provides us a rich, intuitive a p p r o a c h to m e e t i n g nature a n d discovering patterns a n d relationships that are not only stimulating intellectually but a r e also satisfying emotionally a n d spiritually. G o e t h e ' s m e t h o d t e a c h e s a m o d e of interaction b e t w e e n p e o p l e a n d e n v i r o n m e n t that involves reciprocity, w o n d e r m e n t a n d gratitude. He wished us to e n c o u n t e r nature a n d d i s c o v e r h o w all its parts, including ourselves, b e l o n g " (1998, 10). The p h e n o m e n o l o g y of Martin H e i d e g g e r , a c o l l e a g u e of the f o u n d e r of p h e n o m e n o l o g y , E d m u n d Husserl, c o m b i n e s the e x p e r i e n c e of the natural w o r l d with that of the built as e x p e r i e n c e d by humans. H e i d e g g e r c a l l e d this ' b e i n g - i n - t h e - w o r l d ' . N o r b e r g Shulz's interpretation of 'being-in-the-world' is that " n a t u r a l e x p e r i e n c e is neither subjective nor o b j e c t i v e , a n d d o e s not establish a s e p a r a t i o n b e t w e e n b o d y a n d awareness (2000,19).  The Essence of  Place  Why use p h e n o m e n o l o g y to inform a design m e t h o d o l o g y ? Norberg-Schulz (20) writes, "The q u a l i t a t i v e world with all its i m m e d i a c y has fallen v i c t i m to q u a n t i f i c a t i o n w h i c h estranges us from the d e e p e r m e a n i n g of our e v e r y d a y e x p e r i e n c e " . L a n d s c a p e architects a n d architects are t r a i n e d to p e r f o r m site analyses a n d q u a n t i t a t i v e inventory of t o p o g r a p h y , soils, h y d r o l o g i c conditions, solar orientation, existing v e g e t a t i o n , c l i m a t i c conditions a n d other r e l e v a n t natural a n d c o n t e x t u a l factors in the h o p e of c r e a t i n g a n e n v i r o n m e n t a l l y sensitive design (Howett). "But s e l d o m d o designs e m e r g e t h a t m a k e a w a r e n e s s of these c o m p l e x natural systems a c c e s s i b l e to the bodies a n d p s y c h e s of the ordinary p e o p l e w h o use these p l a c e s in the course of their e v e r y d a y lives" (Howett, 70). A designer c a n n o t rely only on quantifiable information b u t n e e d s to u n d e r s t a n d the e s s e n c e of a p l a c e in order to c o n v e y that e s s e n c e into built form. H o w e t t writes of h o w our c u s t o m a r y w a y s to look a t the w o r l d , e v e n qualitatively, o f t e n blind us to the reality of w h a t is there. O u r vision b e c o m e s the d o m i n a n t w a y of ' s e e i n g ' the w o r l d yet it is just o n e of m a n y forms of p e r c e p t i o n . H e i d e g g e r e m p h a s i z e d that the p h e n o m e n o l o g i c a l v i e w involves a m o r e intimate interaction with s p a c e than just seeing a n d c o n t e m p l a t i o n . The " d o m i n a n c e of c o n t e m p l a t i o n effects a s e p a r a t i o n b e t w e e n built form a n d e v e r y d a y life, a n d c a n c a u s e a major disjunction in the d e s i g n p r o c e s s " (Dovey, 260). Kawasaki, Sasaki a n d W a n g f o u n d a n u n d e r s t a n d i n g of p e o p l e ' s e m o t i o n a l responses to w a t e r s i d e areas to b e important w h e n d e v e l o p i n g principles for their p l a n n i n g a n d design. " A p p l y i n g the p h e n o m e n o l o g i c a l p e r s p e c t i v e to designing the built environment ensures that t h e p r i m a c y of e x p e r i e n c e is not lost" (Seamon, 2000, 40).  2.3  Design Methodology  The process of c r e a t i n g a design m e t h o d o l o g y for this o c e a n e d g e b e g a n with the exploration of the work of A l v a r o Siza w h o s e o c e a n e d g e a r c h i t e c t u r e shows a sensitive response to the e x p e r i e n c e of its environment. Plates 2.1 to 2.3 are p h o t o g r a p h s of the B o a N o v a Restaurant d e s i g n e d b y A l v a r o Siza a n d built in L e c a d e Palmeiro, Portugal b e t w e e n 1958 a n d 1963. His a r c h i t e c t u r e shows a n intimate a n d subtle understanding of p l a c e . Siza a c h i e v e d a g r e a t familiarity with the site through a process of long c o n c e n t r a t i o n a n d  The Essence of  Plate 2.2 Restaurant in rocks  Place  d r a w i n g . He w o u l d e x p l o r e the site a n d draw, b e f o r e a t t e m p t i n g a d e t a i l e d site analysis. He wrote, "As a working tool (these sketches) h e l p to establish a p e r m a n e n t d i a l e c t i c a l relationship b e t w e e n intuition a n d p r e c i s e e x a m i n a t i o n , in a progressive process of full u n d e r s t a n d i n g a n d visualization. In this process of visualization, in a provisionally final i m a g e , the all i m p o r t a n t almost n o t h i n g b e y o n d w h a t is a l r e a d y there g r a d u a l l y begins to t a k e shape..." (Frampton, 55). Siza's a r c h i t e c t u r e reveals rather t h a n interprets its c o n t e x t . G r e g o t t i (175) writes, "for Siza the sense of b e l o n g i n g to northern Portugal is p a r a m o u n t , stony a n d bright, p o o r a n d full of intimacy, w h e r e the light of the A t l a n t i c is l o w a n d long, illuminating poverty in a n a b s t r a c t w a y , revealing all the s u r f a c e irregularities, high-lighting every c h a n g e of p a t h a r o u n d houses, w h e r e e v e r y d i s c r e p a n c y is s h o w n u p in a m a n n e r that is b o t h g r a n d a n d dry, full of sweetness a n d m e l a n c h o l y " Siza himself w r o t e of h o w the design of the B o a N o v a Restaurant required a g r e a t u n d e r s t a n d i n g of the p l a c e , a p l a c e frequently visited for its b e a u t y . He w a n t e d to c r e a t e a building that o n c e it w a s there w o u l d not b e possible to i m a g i n e its not b e i n g (Angelillo, 149). Thiis-Evenson (in S e a m o n , 2000, 30) describes the three "existential expressions of a r c h i t e c t u r e " w h i c h he feels n e e d to b e c o n s i d e r e d to establish a tension b e t w e e n built form a n d e x p e r i e n c e . These a r e motion, w e i g h t a n d s u b s t a n c e . M o t i o n relates to the sense of d y n a m i s m or inertia e v o k e d b y the a r c h i t e c t u r a l e l e m e n t - w h e t h e r it seems to e x p a n d , c o n t r a c t or rest in b a l a n c e . W e i g h t involves a sense of heaviness or lightness of the e l e m e n t a n d its relation to gravity. S u b s t a n c e refers to the material sense of the e l e m e n t - w h e t h e r it is soft or h a r d , c o a r s e or fine, w a r m or c o l d , e t c . These existential expressions of a r c h i t e c t u r e are implicit in the B o a N o v a Restaurant.  Plate 2.3 Roof, beachline and horizon  A l v a r o Siza's other o c e a n e d g e constructions are the swimming pools a t L e c a d e Palmeiro, Portugal, built b e t w e e n 1961 a n d 1966. " H e r e e v e r y t h i n g is a subtle m e d i a t i o n b e t w e e n the c o a s t a l r o a d , rock strewn site a n d t h e o p e n sea... Everything is part of a n e a r t h w o r k " (Barata in Frampton, 16). A l v a r o Siza w a s extremely r e c e p t i v e to u n d e r s t a n d i n g the conditions in w h i c h h e w o r k e d . He e m p h a s i z e d conditions not c o n t e x t ( M o n e o , 8). Siza w r o t e of the s w i m m i n g p o o l , " t h e f o r c e of the s e a a n d of m e n h a d left, as well as fragments, a s u p p o r t i n g wall o n e kilometer l o n g a n d four meters high. The c h a n g i n g rooms building  The Essence of  Place  b a c k s o n t o the wall a n d d o e s not interrupt it. In a certain w a y this is m o r e t h a n a n y t h i n g a d o o r giving a c c e s s to the b e a c h . In the g a t e of a wall, t h e transition is m a d e through its o w n thickness, determining a time a n d a c h a n g e of light. The s a m e thing h a p p e n s here through other processes" (Angelillo, 151). Siza sees h u m a n i n t e r a c t i o n with a p l a c e important. He b e l i e v e d t h a t t h e d e s i g n i d e a s u m m a r i z e d the d i s p a r a t e parts of p e r c e i v e d reality ( W a n g , 189). O n e has to d i s c o v e r the e n t r a n c e to the pools, w h i c h is b e t w e e n t w o c o n c r e t e walls. Walking d o w n a r a m p to the c h a n g i n g a r e a , o n e loses sight of the horizon. There is a r e d u c t i o n of light in the interior, a n d then o n e returns to t h e outside light but still c a n n o t see the o c e a n . Finally o n e e m e r g e s from t h e thick walls of the c h a n g i n g a r e a to the full p a n o r a m a of the o c e a n (Frampton, 177). There is a n interplay of light a n d s h a d o w within the built form that reveals t h e quality of natural light in this p l a c e (Plate 2.4). The pools w e r e d e s i g n e d to fit into the rocks (Plate 2.5) to " l o o k as t h o u g h they h a d always b e e n there, s p o n t a n e o u s l y created...like the o c c a s i o n a l s a n d p a t c h through inundations of t h e s e a " (Frampton, 16). The b o u n d i n g wall has b e e n carefully c o n c e i v e d . Martin H e i d e g g e r wrote, " a b o u n d a r y is not a point at w h i c h s o m e t h i n g stops but,... the b o u n d a r y is that from w h i c h s o m e t h i n g begins p r e s e n c i n g (in F r a m p t o n , 16). Siza b e l i e v e d that built form should b e socially d e c i p h e r a b l e a n d a c c e s s i b l e . G r e g o t t i writes, "Siza d o e s not use d e t a i l as d e c o r a t i o n or t e c h n o l o g i c a l ostentation but as a n intimate d e c i s i o n w h i c h m a k e s a r c h i t e c t u r e a c c e s s i b l e : a w a y of tactilely verifying the c o n s i s t e n c y a n d uniqueness of the thing m a d e in a c e r t a i n p l a c e at a c e r t a i n time; a m e a n s of c o m i n g into c o n t a c t with the construction by feeling o n e ' s w a y a r o u n d it" (in F r a m p t o n , 57).  The Essence of  Place  Siza understood that his transformation of p l a c e was a m o m e n t in time, inextricably linked to the past a n d to the future. He w r o t e a prose p o e m in 1979 entitled, "To c a t c h a precise m o m e n t of the flittering i m a g e in all its s h a d e s (Frampton, 20), "...Each design is bound to catch, with utmost rigour, a precise moment of flittering image in all its shades and the better you can recognize that flittering quality of reality, the clearer your design must arise, It is more valuable as it is true... This may be the reason why only marginal works (a quiet dwelling, a holiday-house miles away) have been kept the way they were originally designed. This is an outcome of a participation in a process of cultural transformation or construction-destruction. But something remains. Pieces are kept here and there, inside ourselves, perhaps gathered by someone, leaving marks on spaces and people, melting in a process of total transformation".  Alvaro Siza's work demonstrates h o w sensitive p a r t i c i p a t i o n in the e x p e r i e n c e of this o c e a n e d g e in Portugal e n a b l e d him to c r e a t e works that r e v e a l the ess e n c e of this e d g e . The m e t h o d o l o g y for a p p r o a c h i n g the design of the c o m m u n i t y park on the o c e a n e d g e of West V a n c o u v e r b e g a n with s p e n d i n g m a n y hours in the project a r e a during different seasons, v a r i e d w e a t h e r conditions a n d v a r i e d times of d a y to g a i n a n intimate u n d e r s t a n d i n g of the e x p e r i e n c e of this o c e a n e d g e . G r a n g e writes, "The h u m a n b o d y , in the final analysis c a n n o t lie. P e r c e p t i o n is our c o n s c i e n c e . P l a c e while not our b o d y arises as a felt p h e n o m e n o n through our b o d y ' s p a r t i c i p a t i o n in it. W h e n w e a c t through our b o d y ' s posture, orientation, feel a n d c o m p r e h e n s i o n , w e b e g i n the h u m a n effort towards founding, c e l e b r a t i n g a n d building p l a c e " ( G r a n g e , 1985). The sensory e x p e r i e n c e s of hearing, smell a n d t o u c h w e r e e x p l o r e d in a d d i t i o n to visual p e r c e p t i o n . Conditions of c o n t e x t w e r e then e x p l o r e d a n d the history of the  The Essence of Place  a r e a w a s r e s e a r c h e d . Finally t h e p r o g r a m requirements w e r e c o m p i l e d through meetings with m e m b e r s of the West V a n c o u v e r Waterfront Planning C o m m i t t e e . O v e r a r c h i n g design responses w e r e d e v e l o p e d w h i c h r e v e a l t h e e x p e r i e n c e of this o c e a n e d g e a n d a r e sensitive to the conditions of c o n t e x t a n d m e m o r y while m e e t i n g the s u g g e s t e d p r o g r a m requirements. The experiential expressions of built form, motion, w e i g h t a n d s u b s t a n c e , c o n s i d e r e d b y ThissEvensen (in S e a m o n , 2000, 30) to c r e a t e a n experiential tension b e t w e e n built form a n d e x p e r i e n c e w e r e c o n s i d e r e d during the design process. Thinking in four dimensions h e l p e d to think of s p a c e as e x p e r i e n c e rather that s p a c e as g e o m e t r y . D o v e y (2003, 250) writes, " G e o m e t r i c s p a c e ... is p u r g e d of social a n d cultural m e a n i n g ... it a c h i e v e s a c c u r a c y a n d predictability at t h e e x p e n s e of experiential d e p t h " . D o v e y feels that in t h e design process, lived s p a c e is r e d u c e d to t w o dimensions, w h e n in reality lived s p a c e is four dimensional, with time as the fourth dimension. Design interventions w e r e carefully c o n s i d e r e d to not only ensure that they p a r t i c i p a t e d in r e v e a l i n g the e x p e r i e n c e of this o c e a n e d g e but also that they w e r e tactile, socially d e c i p h e r a b l e , socially a c c e s s i b l e a n d socially e n g a g i n g . A n u m b e r of o r t h o g r a p h i c views a n d perspectives w e r e d r a w n to a t t e m p t to illustrate t h e c o r r e s p o n d e n c e b e t w e e n s e q u e n c e in time a n d the organization in s p a c e . In summary the m e t h o d o l o g y w a s a n intimate, sensitive a p p r o a c h t o the design of this waterfront park, o n e that a l l o w e d t h e rich a n d c o m p l e x e x p e r i e n c e s of this o c e a n e d g e to g u i d e the d e s i g n - m a k i n g . In the words of Siza ( Frampton, No tree uprooted for building and no stone taken from the mountain is restored to us No yellowed photograph brings back the Beauty that is gone It remains to us to attempt -to continuethe construction of Beauty... Natural or constructed we transform everything with too much eagerness with too much ambition or dissatisfaction. The liberty gained, endlessly paralyses, or reduces to dust...  The Ocean Edge  Experience  3.  The Ocean Edge Experience  3.1  Introduction  The i n t e r f a c e b e t w e e n l a n d , air a n d w a t e r is rich in e x p e r i e n c e s . In a n u r b a n c o n t e x t there is a c o n s t a n t e b b a n d flow of p e o p l e a t this i n t e r f a c e (Plate 3.1). Sunnie Kidd wrote, " W e share this r i b b o n of f o a m i n g , e v e r - c h a n g i n g e d g e of the world. W e c o l l e c t t o g e t h e r every d a y . M a n y familiar f a c e s a p p r o a c h , others a r e u n k n o w n . W e a r e like shells c a s t u p o n a b e a c h for only a short time, d i s a p p e a r i n g as if s w e p t a w a y b y t h e next w a v e , c a r r i e d b a c k to t h e o c e a n ' s depths. W e a r e here for a m o m e n t , w a s h e d b a c k into t h e s e a of h u m a n i t y " (2003). S o m e of t h e experiential conditions of the Argyle Waterfront L a n d a r e presented.  The Ocean  3.2  Edge  Experience  Quality of Light  The Argyle Waterfront L a n d is south-facing a n d o n sunny days there is a n interplay of light a n d s h a d o w o n b o t h h a r d (Plate 3.2) a n d soft (Plate 3.3) surfaces. Sun a n d s h a d o w also reflect the p a s s a g e of time as the sun's position c h a n g e s from sunrise to sunset. The interplay of light a n d s h a d o w in not only visible but t a c t i l e as o n e m o v e s from w a r m to c o o l p l a c e s . The quality of light also affects the c o l o u r of the o c e a n , c r e a t i n g different kinds of c o n d i t i o n s that a p p e a l to the e m o t i o n s (Plate 3.4).  The Ocean Edge  Experience  Plate 3.6 The quality of r e f l e c t e d light off the o c e a n a d d s a n o t h e r layer to the e x p e r i e n c e a n d c h a n g e s with w e a t h e r conditions a n d time of d a y . Plate 3.5 shows the reflection of morning light c r e a t i n g dark silhouettes of v e g e t a t i o n . At night (Plate 3.6) moonlight reflects off the o c e a n as d o the lights of o c e a n vessels a n d the existing h o m e s a l o n g the b e a c h .  The Ocean Edge 3.3  Experience  Wind  This o c e a n e d g e is windy much of the time (Plate 3.7). Even on a warm summer day the breeze is cool. During the fall, winter and spring it is often windy a n d cold. The air c a n be d a m p from the spray of the waves crashing against the breakwaters and the b e a c h (Plate 3.8), carried landward by the wind. The wind combined with the rain c a n make the experience of this e d g e very cold a n d wet. However, strong wind is also an exhilarating experience.  Plate 3.7  Plate 3.8  The Ocean  3.4  Edge  Experience  Rain and Surface Runoff  Rain is a common experience along this ocean edge, which is often windy and wet. The experience of the rain is enhanced by the natural runoff of rainwater from the land to the ocean. The most prominent example of this is Lawson Creek (Plate 3.9) which flows into the ocean within the project area. The remnants of old concrete storm water pipes (Plate 3.10) along the beach remind a person of the flow of rainwater from the land to the ocean. Grass in the area is often soggy and spongy. The rain falling results in a variety of sounds depending on the composition of the surface on which it is falling. Rain also alters the colour, smell and feel of surfaces.  Plate 3.10  The Ocean  3.5  Edge  Experience  Accessible, Interactive Ocean Edge  Most of the waterfront e d g e is a c c e s s i b l e (Plate 3.11) a n d a person is free to explore a n d i n t e r a c t with the o c e a n a n d the b e a c h . The very visible c h a n g e s of the b e a c h a n d the o c e a n with time a n d w e a t h e r c r e a t e a d y n a m i c e d g e that invites exploration a n d p a r t i c i p a t i o n (Plate 3.12). Logs a r e thrown u p by the w a v e s a n d tides in a disorderly array a n d native b e a c h v e g e t a t i o n grows freely. It is a tactile e n v i r o n m e n t of logs, rocks, s a n d a n d v e g e t a t i o n .  The Ocean  3.6  Edge  Experience  Weave of Sounds  This is a very dynamic environment with an intricate w e a v e of sounds. Some of these are the sounds of waves breaking, sounds of float planes, airplanes and helicopters, the sounds of many kinds of o c e a n vessels from small motor boats to freighters (Plate 3.13) a n d cruise ships, the sounds of a variety of birds, the sounds of horns on foggy days, the sound of rain falling on different surfaces, the sound of Lawson Creek flowing a n d the sound of the freight train (Plate 3.14) which passes the project area.  Plate 3.13 Freighter, float plane, waves and seagulls  Plate 3.14 Freight train rumbling past northern edge of Argyle Waterfront Land  The Ocean Edge 3.7  Experience  Views to the Horizon  A person has a view to the horizon to the west from anywhere along this ocean edge (Plate 3.15). Views to the horizon have a spiritual quality and enhance one's sense of scale in relation to the sky and ocean.  The Ocean  3.8  Edge  Experience  Public-Private Dialectic  There exists an experience of transparency of private places along this waterfront edge. A number of private homes still exist within this public area and people often sit on retaining walls or picnic on the patios of these homes. Private patios such as the one in Plate 3.16, provide a sense of human scale in the larger context of public open space. They also provide a place of refuge from wind, sun and rain while still providing a sense of prospect. The forms and composition of these ocean edge patios reinforce their accessibility.  Plate 3.16  3.9  Summary  An exploration of the qualitative aspects of the Argyle Waterfront Land is the first step in understanding the identity of this place in order to preserve and reveal it through design interventions. The next section explores the more quantitative conditions of context of the Argyle Waterfront Land.  Conditions of Context  4.  Conditions of Context  4.1  Introduction  Existing conditions within a n d a d j a c e n t to the p r o j e c t a r e a a r e outlined. A n understanding of these conditions is important to the d e v e l o p m e n t of a design response that is sensitive not only to experiential conditions but also to the conditions of context. These conditions will b e discussed b e g i n n i n g with the e d g e b e t w e e n the waterfront l a n d a n d the c o m m u n i t y , t h e n m o v i n g s e a w a r d to the e d g e b e t w e e n the waterfront l a n d a n d the o c e a n . Conditions of c o n t e x t a r e g r o u p e d into the following c a t e g o r i e s :  Adjacencies Fabric Connections Pedestrian Circulation Land-Ocean Interface  4.2  Adjacencies  The Argyle Waterfront L a n d is b o u n d e d to the north by the m a i n c o m m e r c i a l a r e a of West V a n c o u v e r , A m b l e s i d e Village. The British C o l u m b i a Railway line separates the waterfront l a n d from the c o m m e r c i a l district. The c o m m e r c i a l a r e a is surrounded by a m e d i u m to high density residential a r e a . This a r e a is in turn e n v e l o p e d by s i n g l e - d e t a c h e d housing. M a r i n e Drive is the m a i n east-west c o n n e c t i n g r o a d through the entire c o m m u n i t y a n d c o n n e c t s West V a n c o u v e r to G r e a t e r V a n c o u v e r . Bellevue A v e n u e is a s e c o n d a r y east-west r o a d that runs parallel to the waterfront l a n d just north of the B.C. Railway line. Fifteenth Street c o n n e c t s A m b l e s i d e Village with the U p p e r Levels Highway. The U p p e r Levels H i g h w a y is a l o c a l s e g m e n t of the T r a n s C a n a d a Highway. Plate 4.1 g r a p h i c a l l y illustrates these c o n t e x t u a l conditions.  Conditions  Plate 4.1 Conditions of context location map  of  Context  The A m b l e s i d e V i l l a g e n e i g h b o u r h o o d a d j a c e n t to the p r o j e c t a r e a w a s e x a m i n e d by a g r o u p of university students in 2003. Their study, c a l l e d t h e F A C E A u d i t (Wex et. al.) w a s b a s e d o n a p l a c e audit tool d e v e l o p e d b y Dr. D o n A l e x a n d e r to e v a l u a t e the overall health of a n e i g h b o u r h o o d . In his manuscript, " P l a c e , Repairing the Fabric of H u m a n E x p e r i e n c e " , Dr. A l e x a n d e r c o n t e n d s that there is a 'crisis of p l a c e ' resulting from the w a y w e h a v e b e e n c o n s t r u c t i n g our built environments a n d l a n d s c a p e s for the p a s t century. The p l a c e a u d i t tool considers four c a t e g o r i e s with various indicators, to try t o o look at a n e i g h b o u r h o o d holistically. These c a t e g o r i e s a r e function, aesthetics, c i v i c h e a l t h a n d e c o l o g y . While the A m b l e s i d e n e i g h b o u r h o o d r e c e i v e d high marks for aesthetics, c i v i c health a n d e c o l o g y , function r e c e i v e d a rating of 60%. This 19  Conditions of Context w a s primarily the result of the l a c k of m i x e d density housing in the n e i g h b o u r h o o d a n d the l a c k of live-work housing within the c o m m e r c i a l district. S o m e m i x e d c o m m e r c i a l / h i g h density residential buildings exist within the c o m m e r c i a l district a n d the District of West V a n c o u v e r is e n c o u r a g i n g m o r e (Official C o m m u n i t y Plan). The A m b l e s i d e c o m m e r c i a l a r e a consists primarily of l o c a l businesses, a f e w c h a i n stores a n d professional services s u c h as m e d i c a l , d e n t a l a n d l e g a l . The health of the A m b l e s i d e c o m m e r c i a l district is as i m p o r t a n t to t h e successful functioning of a n e w public waterfront park as is the design of the p r o p o s e d waterfront park to the health of the c o m m e r c i a l district. The eastern e d g e of the Argyle Waterfront L a n d is b o u n d e d by A m b l e s i d e Park (Plate 4.1). A m b l e s i d e Park is a twenty-four h e c t a r e o c e a n - f r o n t park with a s a n d y b e a c h . It has artificial turf, grass a n d a l l - w e a t h e r p l a y i n g fields, b a s e b a l l d i a m o n d s , tennis courts, b a s k e t b a l l courts a n d a skate park. The park also has a children's p l a y g r o u n d , a p a r 3 golf course a n d a n off-leash waterfront d o g a r e a .  20  Conditions  4.3  of  Context  Fabric  Two c o m m u n i t y p u b l i c g a t h e r i n g p l a c e s currently exist within t h e A r g y l e Waterfront L a n d , J o h n L a w s o n Park a n d A m b l e s i d e L a n d i n g (Plate 4.2). J o h n  Plate 4.2 Fabric of Argyle Waterfront Land  L a w s o n Park has a grassy p i c n i c a r e a a n d children's p l a y g r o u n d . A m b l e s i d e L a n d i n g is a p u b l i c c o m m u n i t y s p a c e . It has grassy areas a n d p l a z a s for c o m m u n i t y events w h i c h surround the Ferry Building Gallery (Plate 4.3). The Ferry Building Gallery, originally a ferry ticket office built in 1913 w a s restored in 1988 a n d is n o w a C o m m u n i t y Art Gallery o p e r a t e d by West V a n c o u v e r C u l t u r a l Services. The gallery has high-qualilty, juried exhibits a n d s h o w c a s e s past a n d present residents of the North Shore. The gallery also offers art lectures, classes a n d workshops a n d organizes art tours a n d art-network groups. The gallery has o v e r 1000 visitors a w e e k (Dexter).  Conditions  of  Context  Plate 4.3 The Ferry Building Gallery a n d 'Granite Assemblage' in  Ambleside Landing (view west)  D o n V a u g h n ' s ' G r a n i t e A s s e m b l a g e ' , a n art p i e c e a b o u t the qualities of stone a n d the e d g e c o n d i t i o n s b e t w e e n the l a n d a n d the o c e a n , exists a l o n g the shoreline of A m b l e s i d e L a n d i n g . The work is c o m p o s e d of b l o c k s of g r a n i t e p l a c e d in a m a n - m a d e tide p o o l (Plate 4.3) with s o m e granite b l o c k s e x t e n d i n g into the grassy a r e a s of the L a n d i n g .  22  Conditions  of  Context  West of A m b l e s i d e L a n d i n g is a p u b l i c b o a t l a u n c h (Plate 4.4) a n d the Hollyburn Sailing C l u b (Plate 4.5). The Hollyburn Sailing C l u b is a d i n g h y sailing c l u b . It has h a d , since its i n c e p t i o n in 1963, Licenses of O c c u p a t i o n with t h e District of West V a n c o u v e r to o c c u p y this waterfront l a n d (Hollyburn Sailing C l u b ) .  Plate 4.4 Public boat launch (view south)  Plate 4.5 Hollyburn Sailing Club (view east)  The r e m a i n d e r of the l a n d is a c o m b i n a t i o n of privately o w n e d properties, District of West V a n c o u v e r o w n e d properties a n d life tenants, w h o live o n properties p u r c h a s e d by the District of West V a n c o u v e r .  Conditions  of  Context  Two of the houses a l o n g the waterfront are used by the district for cultural activities. The Silk Purse Arts C e n t r e , h o u s e d in a fifty y e a r o l d house, is m a n a g e d b y Parks a n d C o m m u n i t y Services p a r t n e r e d with the West V a n c o u v e r Arts C o u n c i l (Dexter). The Arts C e n t r e has exhibitions, art classes a n d also hosts musicians, p o e t s a n d authors as well as artists in a n u m b e r of events. A d j a c e n t to t h e Silk Purse Arts C e n t r e is a house w h i c h is the h e a d q u a r t e r s for the West V a n c o u v e r ' s H a r m o n y Arts Festival, held in August of e a c h year. During the Arts Festival, tents a r e set u p o n the grassy p u b l i c areas of t h e A r g y l e Waterfront L a n d a n d a w i d e variety of cultural activities t a k e p l a c e o v e r a p e r i o d of t e n d a y s (Plate 4.6). The H a r m o n y Arts Festival staff share the h o u s e they o c c u p y with musicians, actors a n d other m e m b e r s of the arts c o m m u n i t y .  Plate 4.6 Artist, Harmony Arts Festival August, 2003  The cultural activities c e n t e r e d in this waterfront a r e a p r o v i d e a w i d e r a n g e of e n r i c h i n g e x p e r i e n c e s to those w h o p a r t i c i p a t e in t h e m .  Conditions  of Context  One of the houses within the most western group of existing houses is the Navvy Jack House, a primary heritage building. It is West Vancouver's oldest house, built in 1873. It has been extensively remodelled but the main body of the house is still intact. Navvy Jack House was built on the bank of Lawson Creek, which flows into the ocean to the east of the house (Plate 4.7). Lawson Creek has been culverted in a closed culvert under the commercial district and in an open culvert between Bellevue Avenue and the beach (Plate 4.8).  Plate 4.8 Lawson Creek, Navvy Jack House on right (view south)  Conditions of Context 4.4  Connections  Vehicular, pedestrian and visual connections between the Argyle Waterfront Land and the Ambleside neighbourhood and commercial district are discussed. Plate 4.9 shows the existing vehicular connections with the Argyle Waterfront Land. Eastern Argyle Avenue is a narrow, one way westerly street that can be accessed by 13th, Nth and 15th Streets. It provides access to the Hollyburn Sailing Club, the public boat launch and to the houses along the waterfront. Western Argyle Avenue is a narrow two-way street that provides access to the houses west of Lawson Creek.  Plate 4.9 Existing vehicular connections  Conditions  of  Context  Pedestrian connections between the waterfront land and the Ambleside neighbourhood to the north are along the existing streets, 13th to 18th Streets (Plate 4.10).  Plate 4.10 Existing pedestrian connections  27  Conditions of Context Visual as well as spatial connectivity between the waterfront land and the Ambleside neighbourhood is an important component in creating a strong interdependent relationship between the two. The visual connections between the waterfront and the Ambleside neighbourhood north of the commercial district are optimized due to the sloping topography (Plate 4.11). However, a topographic depression between 15th and 16th Streets along Bellevue Avenue, together with an elevated rail bed, hinders the visual connection between the waterfront and the commercial district (Plate 4.12) in this area.  Plate 4.11 View south from Bellevue Avenue to waterfront land  Plate 4.12 Topography  Conditions  of  Context  A n a d d i t i o n a l h i n d r a n c e to strong visual c o n n e c t i v i t y is the c o n i f e r o u s a n d b r o a d l e a f e v e r g r e e n v e g e t a t i o n growing a l o n g the rail line. Plate 4.13 summarizes the existing conditions of visual c o n n e c t i v i t y .  Plate 4.13 Existing conditions of visual connectivity  The e n t r a n c e s to the waterfront l a n d at 16th, 17th a n d 18th Streets a r e spatially a n d visually w e a k a n d l a c k unique, defining c h a r a c t e r s . These a c c e s s points to the waterfront l a n d d o little to e m b r a c e the existence of the rail line so at present it feels m o r e like a barrier t h a n a n intriguing c o n d i t i o n of these a c c e s s points. Plate 4.14 shows the existing e n t r a n c e from 17th Street to J o h n L a w s o n Park, the existing park within the waterfront l a n d (see Plate 4.2 for l o c a t i o n ) .  Plate 4.14 Existing entrance to waterfront land from 17th Street (view south)  Conditions  4.5  of  Context  Pedestrian Circulation  There exists a strong east-west a n d west-east m o v e m e n t of p e o p l e through the A r g y l e Waterfront L a n d . This waterfront l a n d links the existing 1.7 kilometer C e n tennial Seawalk, w h i c h extends from D u n d a r a v e Park to 18th Street, with the b e a c h f r o n t w a l k w a y in A m b l e s i d e Park (Plate 4.15).  Argyle Waterfront Land  connection, with Ambleside Park seawalk  Plate 4.15 Waterfront recreational walkway  The C e n t e n n i a l S e a w a l k is a rip-rap p r o t e c t e d o c e a n - e d g e w a l k w a y b o u n d e d to the north by the rail line a n d m e d i u m to high density t o w n h o u s e s a n d a p a r t m e n t towers (Plate 4.16).  Plate 4.16 Centennial Seawalk (view west)  Conditions  of  Context  The Argyle Waterfront Land link in this recreational route is primarily Argle Avenue which takes people away from the waterfront (see Plate 4.10). People share the road with vehicles (Plate 4.17). The entire waterfront recreational walkway connects with a 7.5 kilometer path that leads to the Cleveland Dam, along the west side of the Capilano River (Plate 4.18). The combined waterfront recreational walkway and river pathway is a heavily used recreational facility in all seasons.  Plate 4.17 Argyle Avenue (view east)  Plate 4.18 Capilano River recreational pathway  Conditions  4.6  of  Context  The Land-Ocean Interface  An understanding of the processes occurring along the land-ocean edge is important to any proposed alteration of the edge between the beach and nonbeach land. The beach is a moderate energy cobble, pebble and sand beach (Plate 4.19). Waves are generally from the south-west and sediment transport is easterly along the shore (Everts).  Plate 4.20 O c e a n water depths  Three or four storm events occur each year accompanied by waves of 1.2 to 1.5 meters high. Water depths in the area are shown in Plate 4.20. Tides are 4.5 meters. Artificial submerged reefs have been constructed adjacent to the two piers along this shoreline to encourage sediment deposition. Lawson Creek contributes sediment to the beach.  P  32  Conditions  of  Context  Some of the existing waterfront lots have encroached on the natural beach conditions. Concrete retaining walls exist at the high tide line east of 16th Street. Some of these walls are higher than two meters (Plate 4.21). Retaining walls also exist along the beach near Lawson Creek. These retaining walls leave no public access to the beach during high tide events.  Plate 4.21 Concrete retaining walls  This is a south-facing land-ocean edge. It receives winds which predominantly vary from south-east to south-west. Variations in solar exposure and winds are quantitative measurements as well as experiential qualities and are important to consider from the perspective of environmental and economic sustainability of any design interventions.  Conditions  of  Context  A n o t h e r c o n d i t i o n of this o c e a n e d g e are the views it affords of Stanley Park, the city skyline, the C o a s t M o u n t a i n s a n d of the Lion's G a t e Bridge (Plate 4.22) a n d V a n c o u v e r ' s inner harbour. O c e a n vessels from kayaks to freighters travel past the b e a c h (Plate 4.23).  Plate 4.22 View to Lions G a t e Bridge (view east)  Plate 4.23 View to Stanley Park, city skyline a n d o c e a n vessels (view south)  Conditions  of  Context  Two piers (Plate 4.24) s p a n this l a n d - o c e a n interface, o n e at t h e foot of 14th Street (Plate 4.25) a n d o n e at the foot of 17th Street (Plate 4.26).  Plate 4.25 Pier at 14th Street  Plate 4.24 Argyle Waterfront Land piers  Piers form a n i n t e r a c t i v e e d g e with the o c e a n . They also p r o v i d e a person with a sense of p l a c e in relation to the larger l a n d s c a p e of the o c e a n , sky a n d mountains. The role of these two piers in s h a p i n g the c o m m u n i t y of West V a n c o u v e r is important to c o n s i d e r in the design process a n d will b e discussed in the following section, Memory.  Plate 4.26 Pier at 17th Street  Memory  5.  Memory  5.1  Introduction  The A r g l e Waterfront L a n d has l o c a l historical significance, b e i n g o n e of t h e first a r e a s to b e settled in West V a n c o u v e r by E u r o p e a n settlers . M o d i f i e d remnants of this history still exist within this waterfront l a n d . A r e s p e c t for m e m o r y increases the experiential d e p t h of a n y design intervention. 2  5.2  The 17th Street Pier  During the late 1800s a f e w l o g g i n g families lived a l o n g the shore in w h a t w e c a l l A m b l e s i d e V i l l a g e t o d a y . J o h n ' N a v v y J a c k ' Thomas, a British m a n , built a house n e a r Lawson C r e e k in 1873, starting a n o n - d e m a n d ferry s e r v i c e for this small settlement w h o s e only a c c e s s w a s b y water. The N a v v y J a c k House (Plate 5.1) is the oldest house in West V a n c o u v e r a n d t o d a y has h e r i t a g e status.  Memory  J o h n Lawson a n d his family b o u g h t N a v v y J a c k ' s house a n d surrounding l a n d in 1906. His property, w h e r e h e raised horses, b e c a m e k n o w n as 'Hollyburn R a n c h ' , the n a m e d e r i v e d from the holly bushes he p l a n t e d a l o n g t h e b a n k s of t h e c r e e k or in Scottish, the ' b u r n ' . West V a n c o u v e r ' s first settlement a d o p t e d t h e n a m e 'Hollyburn'. J o h n L a w s o n e x p a n d e d o n N a v v y J a c k ' s ferry s e r v i c e a n d h e built a pier at the foot of 17th Street. The ferry service g r e w a n d b y 1909 ferries ran six times a d a y b e t w e e n Hollyburn a n d English Bay a n d also a l o n g the North Shore coastline. The l a n d w h i c h is n o w J o h n Lawson Park w a s l e a s e d b y L a w s o n in 1906 to a l o g g i n g c o m p a n y for use as a log d u m p a n d b o o m i n g g r o u n d . The City of North V a n c o u v e r w a s established in 1891 a n d i n c l u d e d all of the present West V a n c o u v e r . The North V a n c o u v e r District C o u n c i l built a p u b l i c w h a r f a t the foot of 17th Street in 1910 (Plate 5.2). A l t h o u g h t h e w h a r f w a s unsuitable for ferries d u e to its e x p o s e d l o c a t i o n a n d d u e to t h e f a c t t h a t it w a s short a n d d i d not e x t e n d into d e e p water, it w a s still used b y ferries until 1913.  Plate 5.2 Donceiia ferry d o c k e d at Hollyburn wharf, 1913  West V a n c o u v e r ' s first c o m m e r c i a l c e n t e r was l o c a t e d at t h e c o r n e r of 17th Street a n d M a r i n e Drive, directly north of the pier (Plate 5.1). The c o m m u n i t y g a t h e r i n g hall, Hollyburn Pavilion w a s l o c a t e d here. Plate 5.3 shows t h e v i e w d o w n 17th Street to the ferry wharf. Hollyburn G e n e r a l Store a n d Post O f f i c e is o n t h e right.  Memory  5.3  The 14th Street Pier  West Vancouver became a separate District Municipality in 1912. The same year it acquired the West Vancouver Transportation Company owed by John Lawson and began a municipally-run ferry service. In 1913 the ferry service was moved to a new pier built at the foot of 14th Street (Plate 5.4). A ferry ticket office was also built in 1913 (Plate 5.4). The original building, a designated heritage building, was restored in 1988 and is now used as a community art gallery. The municipal ferry service ran until 1947. The ferries ran hourly, seven days a week, for 18 hours a day. They travelled between West Vancouver and the foot of Columbia Street in Vancouver. They also ran as water buses along the North Shore coastline and in the summer made excursions to places along the coastline and to other popular summer destinations such as Stanley Park and English Bay. The opening of the Lions Gate Bridge in 1938 and the popularity of vehicular transportation led to the end of the ferry service.  Plate 5.4 Pier at 14th Street, ferry ticket office o n  l e f t  The original piers located within the Argyle Waterfront Land were places of arrival and departure and their roles as the only points of access to the community until the construction of the rail line and the bridge made them important centers for the community. Though both piers have been reconstructed a number of times, the memory of their original importance to the community should be honoured.  Memory  5.4  An Axis of History, Culture and Community  O v e r the years, 17th Street has b e c o m e a n axis of history, culture a n d c o m m u n i t y . The first ferry service in West V a n c o u v e r o p e r a t e d from t h e pier c o n s t r u c t e d a t t h e southern e n d of 17th Street. The early businesses of West V a n c o u v e r w e r e c e n t e r e d a r o u n d t h e intersection of 17th Street a n d M a r i n e Drive, w h e r e t h e post office a n d first t e l e p h o n e e x c h a n g e (1912) w e r e l o c a t e d . The c o m m u n i t y g a t h e r i n g hall, Hollyburn Pavilion w a s also l o c a t e d o n this street. G e r t r u d e L a w s o n , t h e d a u g h t e r of J o h n Lawson, built a house (Plate 5.5) o n 17th Street b e t w e e n 1939 a n d 1940. The house w a s c o n s t r u c t e d of s t o n e from t h e ballast of ships. It r e c e i v e d h e r i t a g e designation in 1990 a n d t o d a y is h o m e to the West V a n c o u v e r M u s e u m a n d Archives. S e v e n t e e n t h Street is a w i d e street p l a n t e d with chestnut trees. They w e r e p l a n t e d b y the s e c o n d t r o u p e of West V a n c o u v e r Boy Scouts to c o m m e m o r a t e a visit b y Lord B a d e n Powell in 1934. The West V a n c o u v e r M u n i c i p a l Hall w a s built o n 17th Street in 1934. The West V a n c o u v e r M u n i c i p a l Hall w a s built in 1964. S e v e n t e e n t h Street terminates to t h e north a t West V a n c o u v e r S e c o n d a r y S c h o o l , t h e l o c a t i o n of West V a n c o u v e r ' s first high s c h o o l , I n g l e w o o d , built in 1927. M o r e recently the Kay M e e k C e n t r e for t h e Performing Arts w a s built a d j a c e n t to t h e s c h o o l . It is a state of t h e art p e r f o r m a n c e c e n t r e with large a n d small theatres a n d facilities for performing arts classes. Design interventions in t h e Argyle Waterfront L a n d s h o u l d r e v e a l t h e historical, cultural a n d c o m m u n i t y i m p o r t a n c e of the 17th Street axis.  West Vancouver's oldest house  West Vancouver's first pier  Plate 5.5 17th Street axis of history, culture a n d community  Memory  5.5  Rail  The P a c i f i c G r e a t Eastern Railway C o m p a n y ran trains b e t w e e n North V a n c o u v e r a n d West V a n c o u v e r from 1913 to 1928. The trains c a r r i e d freight a n d c o m m u t e r s . The first West V a n c o u v e r train station was c a l l e d A m b l e s i d e , from w h i c h the current n e i g h b o u r h o o d derives its n a m e . There w e r e s e v e r a l other stations in West V a n c o u v e r . Plate 5.6 shows the e n d of the line in D u n d a r a v e (25th Street), West V a n c o u v e r in 1914. The line eventually c o n n e c t e d North V a n c o u v e r with northern British C o l u m b i a . In 1972 the P.G.E. R a i l w a y w a s b o u g h t by the g o v e r n m e n t of British C o l u m b i a , w h o c h a n g e d t h e n a m e to British C o l u m b i a Railway. T o d a y the route is u s e d for freight transportation. The role of the railway in the history a n d settlement of this a r e a a d d s a n o t h e r layer of m e m o r y to e m b r a c e during the design process.  Plate 5.6 End of P.G.E. Rail line, Dundarave, 1914  Program  6.  Program  The e x p e r i e n c e of this o c e a n e d g e will a d d a richness to activities p r o p o s e d for the A r g y l e Waterfront Park - a richness u n i q u e to this p l a c e . In t h e w o r d s of Williams et al., "It is h o p e d that ' t h e s h a p i n g of s p a c e , the o r g a n i z a t i o n of p r o g r a m , the p a t t e r n of c i r c u l a t i o n ... c r e a t e a n a m b i e n c e c o n g e n i a l to c o n t e m p l a t i v e a n d c r e a t i v e use ..." (Williams et al., 19). The vision of the District of West V a n c o u v e r for the Argyle Waterfront L a n d is to c r e a t e a p u b l i c park that is different in c h a r a c t e r from the a d j a c e n t C e n t e n n i a l S e a w a l k a n d A m b l e s i d e Park, while seamlessly linking t h e m t o g e t h e r to c r e a t e a c o n t i n u o u s p u b l i c waterfront e d g e from 25th Street to the C a p i l a n o River. The park will p r o v i d e opportunities for r e c r e a t i o n a l a n d cultural uses a n d h a v e a strong, c o h e s i v e , identifiable c h a r a c t e r , legible from the A m b l e s i d e c o m m e r c i a l district. The design will ensure that the east-west r e c r e a t i o n a l c i r c u l a t i o n route is w e l l - d e f i n e d for those walking, j o g g i n g or running a l o n g t h e o c e a n e d g e for exercise, while also providing opportunities to p a r t i c i p a t e in m o r e passive r e c r e a t i o n . Strong visual a n d spatial c o n n e c t i o n s b e t w e e n the park a n d the c o m m e r c i a l district will e n c o u r a g e north-south pedestrian m o v e m e n t . The c o m m e r c i a l district will p r o v i d e a variety of amenities for the park. The strong c o n n e c t i o n to the c o m m e r c i a l , residential a n d professional e d g e will h e l p to m a k e this waterfront park socially a n d e c o n o m i c a l l y sustainable. The A r g y l e Waterfront L a n d is rich in history a n d culture. The District w o u l d like the p r o p o s e d park to b e a cultural ' c e n t r e ' for the arts for West V a n c o u v e r (Dexter). The Silk Purse Gallery, currently h o u s e d in an o l d house that d o e s not h a v e historical s i g n i f i c a n c e will b e r e l o c a t e d to a n e w building that will also h a v e a d d i t i o n a l gallery a n d workshop s p a c e . A pavilion a n d o u t d o o r t h e a t r e s p a c e s a r e p r o p o s e d for cultural a n d s o c i a l activities. Though s p e c i f i c l o c a t i o n s h a v e b e e n s e l e c t e d for a n arts c o m p l e x a n d p e r f o r m a n c e areas, the d e s i g n of the w h o l e park will e n c o u r a g e the synthesis of art with this o c e a n e d g e e n v i r o n m e n t . Art situated in the l a n d s c a p e (Plate 6.1) allows the v i e w e r to e x p e r i e n c e the art from a variety of p e r s p e c t i v e s a n d in various conditions of light, s h a d o w ,  Program  rain, w i n d a n d h u m a n activity. Minimalist D o n a l d J u d d ' w a s disturbed b y the m u s e u m ' s d i v o r c e of art from life; to him it m e a n t " h a v i n g c u l t u r e without culture h a v i n g a n y e f f e c t " w h i c h s e r v e d to " m a k e art f a k e " (Newhouse,! 13). The historian a n d critic M i c h a e l Fried w r o t e in his 1967 essay 'Art a n d O b j e c t h o o d ' , "The b e t t e r n e w work takes relationships out of the work a n d m a k e s t h e m a f u n c t i o n of s p a c e , light a n d t h e viewers field of vision ... O n e is m o r e a w a r e t h a n b e f o r e that h e himself is establishing relationships as h e a p p r e h e n d s the o b j e c t from various positions a n d u n d e r varying conditions of light a n d spatial c o n t e x t " (in N e w h o u s e , ! 13). Site s p e c i f i c installations a n d c o n c e p t u a l , v i d e o a n d p e r f o r m a n c e art will find a variety of environments with w h i c h to p a r t i c i p a t e . The District of West V a n c o u v e r recognizes p u b l i c art as b e i n g a n i m p o r t a n t part of the c h a r a c t e r of West V a n c o u v e r (Municipal Art C o l l e c t i o n Policy) a n d is d e d i c a t e d to taking a l e a d e r s h i p role in integrating p u b l i c art in its p u b l i c amenities. A n u m b e r of c o m m u n i t y events o c c u r a l o n g the waterfront of West V a n c o u v e r e v e r y year. It is h o p e d that the d e s i g n of the Argyle Waterfront Park will stimulate i m a g i n a t i v e thinking a n d willingness to experiment to c r e a t e n e w activities for this o c e a n e d g e . The park will h a v e a variety of v e g e t a t e d a n d h a r d - s u r f a c e d o p e n s p a c e s of different sizes, c o m p o s i t i o n a n d orientations to f a c i l i t a t e a variety of activities from large c o m m u n i t y events such as the H a r m o n y Arts Festival (Plate 6.2) to small family p i c n i c s to individual c o n t e m p l a t i o n . The entire park will h a v e u n d e r g r o u n d wiring a n d plugs in both a r e a s of h a r d a n d soft l a n d s c a p i n g in a n t i c i p a t i o n of the v a r i e d cultural activities a n d artistic installations that m a y o c c u r . The c o n f i g u r a t i o n a n d l o c a t i o n of p e r m a n e n t s e a t i n g will facilitate c o n v e r s a t i o n a n d small g r o u p gatherings. Temporary seating, stages, tents, etc., a r e p r o p o s e d for larger groups. Plate 6.3 shows a s t a g e for r o c k music installed in the p o o l of D o n V a u g h n ' s ' G r a n i t e A s s e m b l a g e ' , during t h e H a r m o n y Arts Festival.  Plate 6.3 Harmony Arts Festival, August 2003  Program  The District of West V a n c o u v e r also r e c o g n i z e s a n d w o u l d like to p r o t e c t the heritage of this waterfront l a n d . The piers will b e p r o t e c t e d a n d the historically significant N a v v y J a c k House will b e restored (West V a n c o u v e r Official C o m m u n i t y Plan). It is p r o p o s e d that the restored N a v v y J a c k House will host cultural activities a n d will b e a n historical c e n t r e , functioning as a b r a n c h of the current West V a n c o u v e r M u s e u m a n d Archives. A grassy a r e a , p a t i o a n d d e c k a r e p r o p o s e d for the l a n d a d j a c e n t to the house, to facilitate small g r o u p gatherings. Similarly, a n o u t d o o r p a t i o a n d g a r d e n a r e p r o p o s e d for the l a n d west of the Ferry Building Gallery to function as a n o u t d o o r g a t h e r i n g p l a c e for events taking p l a c e at the Ferry Building Gallery. A proposal exists to b e g i n a small p a s s e n g e r ferry service b e t w e e n the pier at A m b l e s i d e Landing a n d V a n c o u v e r (TransLink). A ferry ticket office, c a f e a n d indoor a n d o u t d o o r waiting areas are p r o p o s e d for the w i d e n e d pier, as well as a d d i t i o n a l seating in the vicinity of the Ferry Building Gallery. The architectural l a n g u a g e of the design interventions r e l a t e d to the programs d e s c r i b e d will not only r e v e a l t h e e s s e n c e of this e d g e , but will i n c o r p o r a t e natural systems a n d processes into the design to m a k e it environmentally sustainable.  The  Concept  7.  The Concept  7. 7 Introduction O v e r a r c h i n g d e s i g n responses h a v e b e e n d e v e l o p e d w h i c h a t t e m p t to r e v e a l the e s s e n c e of this o c e a n e d g e . These responses a r e sensitive to t h e sensorial h u m a n e x p e r i e n c e of t h e w a t e r , l a n d a n d sky i n t e r f a c e as well as to c o n d i t i o n s of c o n t e x t , m e m o r y a n d p r o g r a m . Form a n d the o r g a n i z a t i o n of s p a c e c r e a t e s a d e s i g n w h i c h is t a c t i l e a n d sensuous, o n e t h e resonates e m o t i o n a l l y with a person i n t e r a c t i n g with it. The c o n c e p t u a l p l a n r e s p o n d s to these o v e r a r c h i n g d e s i g n responses: Create  a continuous, accessible,  interactive  waterfront  edge.  Orient pedestrian pathways to provide changing views, and changing exposure to sun, wind and sounds, while respecting topography and the linear nature of this edge. Develop a spatial pattern of vegetation to reveal the tension natural phenomena and the built environment.  between  The spatial orientation of both vegetation and built form will provide opportunities to find shelter from or to interact with the wind. Reveal the experience  of hydrological  processes.  Allow existing conditions of context and memory to guide the siting of indoor and outdoor places for cultural activities while allowing the design of these places to reveal the dynamic nature of their context Develop unique design elements to define this edge cohesive, recognizable waterfront public park  and create  a  The  Concept Re-establish the 17th Street pier's former importance community  within the  Create well-defined links between the Ambleside neighbourhood and the waterfront land that embrace the railway and their specific experiential and contextual conditions. Strengthen district  the vitality of the built edge,  the Ambleside  commercial  The c o n c e p t u a l p l a n for the A r g y l e Waterfront Park in d e s c r i b e d in t h e following sections.  The  7.2  Concept  An Overview  The c o n c e p t u a l p l a n for the Argyle Waterfront Park is s h o w in p l a n v i e w in Plate 7.1 a n d in o r t h o g r a p h i c views in Plates 7.2 a n d 7.3. A n u m b e r of distinct p l a c e s are t h r e a d e d t o g e t h e r by p e d e s t r i a n walkways, patterns of v e g e t a t i o n a n d d e sign elements. The s e q u e n c e of these p l a c e s , m o v i n g from west to east are: N a v y Jack House and Garden Lawson Creek Sanctuary John Lawson Pier The Great Lawn Argyle Arts Pavilion and Gallery The Harmony Arts Parkland The Solar Slopes The Edge Performance Plaza The Sand Theatre The Wind Garden The Bosque The Galleria Ferry Building Gallery, Garden and Ambleside Landing Pier  Patio  The existing heritage buildings a n d their patios a n d g a r d e n s form the western a n d eastern e d g e s of the park. N a v v y J a c k House a n d G a r d e n a r e l o c a t e d at the western e d g e of the park w h e r e it joins the C e n t e n n i a l Seawalk. The Ferry Building Gallery, G a r d e n a n d Patio are l o c a t e d at the eastern e d g e of the park. The locations for areas of cultural activities, the Argyle Arts Pavilion a n d Gallery, The E d g e P e r f o r m a n c e Plaza, The S a n d Theatre a n d The G a l l e r i a a r e g u i d e d by conditions of c o n t e x t a n d m e m o r y a n d their designs reflect the d y n a m i c nature of their context. The A r g y l e Arts Pavilion a n d G a l l e r y is situated a l o n g the historically a n d culturally i m p o r t a n t axis of 17th Street w h e r e it extends into the waterfront l a n d . The E d g e P e r f o r m a n c e Plaza a n d The S a n d Theatre, t w o o u t d o o r p e r f o r m a n c e p l a c e s a r e l o c a t e d at the foot of 15th Street, the m a i n north-south c o m m u n i t y a c c e s s r o a d to the A r g y l e Waterfront L a n d . 46  The  Concept  s  i it  * I  « * IS  ft'  u;  Jj  jf  *  *  jf  • $ *I ! *-L  Navy Jock House and Garden  The Wind Garden lawton Cfeek Soncluoiy  The Solar Slope* Th* Great lawn  Argyic Artt Pavilion and Gallery  The Sand Theatre The Ferry Building GoKeiy. Garden and Poho  John lowion Plw  ii Ambleside Landing Pier  Plate 7.1 C o n c e p t u a l Plan Argyle Waterfront Park  47  The  Concept  The  Concept  The  Concept  The L a w s o n C r e e k S a n c t u a r y , Solar Slopes, Wind G a r d e n a n d B o s q u e a r e all design e l e m e n t s w h i c h e n h a n c e the experiential conditions of this o c e a n e d g e .  Lawson Creek  N Plate 7.4 Spatial pattern of vegetation  The spatial p a t t e r n of p r o p o s e d v e g e t a t i o n reflects w a v e form a n d d i r e c t i o n to h e i g h t e n the a w a r e n e s s of this natural p h e n o m e n a (Plate 7.4). This p a t t e r n of v e g e t a t i o n provides shelter or exposure to winds w h i c h are p r e d o m i n a n t l y from the south-east to south-west. The p r o p o s e d v e g e t a t i v e p a t t e r n is l a y e r e d o v e r existing trees w h i c h will b e r e t a i n e d . These break up the w a v e form p a t t e r n m u c h like rocks a n d logs d o to w a v e s o n the b e a c h (Plate 7.5). The grid of waterfront settlement will inform the l o c a t i o n of semi-private p l a c e s within this p u b l i c waterfront. This will c a p t u r e the existing d i a l e c t i c b e t w e e n p u b l i c a n d private. A d i a l o g u e is established b e t w e e n curvilinear forms d e r i v e d from o c e a n processes a n d the residential a n d street grids of the c o m m u n i t y .  Plate 7.5 Wave and pebble on b e a c h  The  Concept  The intersection of the residential u r b a n grid with the o r g a n i c w a v e form (Plate 7.6) reveals the tension b e t w e e n natural p h e n o m e n a a n d t h e built e n v i r o n m e n t a l o n g this o c e a n e d g e . The grid of the c o m m e r c i a l district e x t e n d s into the waterfront as a c o n t i n u a t i o n of the urban street p a t t e r n .  Plate 7.6 Intersection of property lines, street grid a n d w a v e form  U n i q u e d e i g n e l e m e n t s a n d materials will define this e d g e a n d h e l p to c r e a t e a c o h e s i v e , r e c o g n i z a b l e waterfront park. S o m e of the materials c h o s e n for built form r e s p o n d the natural p h e n o m e n a of this o c e a n e d g e s u c h as t h e c o m p o s i t i o n , colour, texture, feel a n d luminosity of p e b b l e s (Plate 7.7) a n d d r i f t w o o d (Plate 7.8), the e t c h e d t r a n s l u c e n c y of shards of glass w a s h e d o n t o the b e a c h a n d the c h a n g i n g colours a n d transparency, t r a n s l u c e n c y a n d o p a c i t y of o c e a n w a t e r (Plate 7.9).  The  Plate 7.7 Cobbles and pebbles on the b e a c h  Concept  Plate 7.8 Driftwood  Plate 7.9 O c e a n water  O t h e r materials such as c o n c r e t e a n d a l u m i n u m reflect the e n c r o a c h m e n t of the u r b a n e d g e . The design considers the experiential c o n d i t i o n s c r e a t e d w h e n the materials c h o s e n c o m e into c o n t a c t with water. S p e c i f i c a l l y d e s i g n e d p a v i n g , f e n c e s , furnishings, tree grates, drains, lighting, w i n d v a n e s will d e f i n e this park. Wind v a n e s not only e n h a n c e the e x p e r i e n c e of the w i n d but also r e s p e c t m e m o r y . They m a k e r e f e r e n c e to the past w h e n o c e a n travel to this c o a s t l i n e w a s d e p e n d e n t o n w i n d a n d w e a t h e r conditions. Wind v a n e s a r e f o u n d in groupings a l o n g the m a i n east-west w a l k w a y , the most p r o m i n e n t e x a m p l e of this b e i n g The W i n d G a r d e n . They will reinforce the continuity of t h e v a r i e d s p a c e s a n d p l a c e s in this park.  The  Concept  7.3  An Accessible, Interactive Ocean Edge  The f r e e d o m to e x p l o r e a n d interact with the d y n a m i c o c e a n e d g e will b e m a i n t a i n e d a n d e n h a n c e d . Interactions with this tactile e n v i r o n m e n t c a n b e passive or a c t i v e (Plates 7.10, 7.11, 7.12}.  Plate 7.11  Existing c o n c r e t e retaining walls w h i c h restrict p u b l i c a c c e s s to t h e b e a c h during high tide events a n d w h i c h m a k e a c c e s s to the b e a c h a n d o c e a n difficult will b e r e m o v e d . C a l c u l a t i o n s using existing b e a c h g r a d e s a n d a v e r a g e high w a t e r levels during storm events i n d i c a t e that this c a n b e a c h i e v e d in s o m e a r e a s b y i n c r e a s i n g the w i d t h of the b e a c h . A n easily a c c e s s i b l e w a t e r f r o n t e d g e in a r e a s with higher retaining walls a n d a narrower existing b e a c h profile c a n only b e a c h i e v e d by c o m b i n i n g a w i d e n i n g of the b e a c h with the c o n s t r u c t i o n of a p e r c h e d b e a c h to raise the b e a c h e l e v a t i o n by half a meter. A p e r c h e d b e a c h is c r e a t e d by the c o n s t r u c t i o n of small artificial reefs offshore. Small artificial reefs currently exist n e a r t h e piers at 14th a n d 17th Streets. It is p r o p o s e d t h a t this waterfront e d g e retain its natural c h a r a c t e r of sand, p e b b l e s a n d c o b b l e s . The w i d e r b e a c h provides a n opportunity to sit a m o n g the logs e v e n during a high tide e v e n t .  The  Concept  Plate 7.13 shows the existing a n d p r o p o s e d e d g e s b e t w e e n t h e b e a c h a n d the l a n d . The b e a c h a n d o c e a n will b e easily a c c e s s i b l e a l o n g its entire l e n g t h . The p r o p o s e d p e r c h e d b e a c h w o u l d b e l o c a t e d in the a r e a of t h e existing houses (white roofs in aerial photo) l o c a t e d west of the A m b l e s i d e L a n d i n g Pier (Plate 7.13).  7.13 Proposed l a n d / b e a c h e d g e  The  Concept  Plate 7.14 Orthographic view of The Sand Theatre and  Park Promenade  Most of the b e a c h will b e w a l k - o n level waterfront with the e x c e p t i o n of the a r e a of the p r o p o s e d p e r c h e d b e a c h . A c c e s s to the b e a c h here is b y using the steps that form The S a n d Theatre s e a t i n g or d o w n a g e n t l e s l o p e to t h e b e a c h from the Park P r o m e n a d e to the east (Plate 7.14). With the s e t - b a c k of t h e l a n d b e a c h e d g e in this a r e a , the c h a n g e in e l e v a t i o n b e t w e e n t h e b e a c h a n d the Park P r o m e n a d e is a m a x i m u m of 1.2 meters in the a r e a of The S a n d Theatre. The steps of The S a n d Theatre h a v e a minimum t r e a d of 0.6 m e t e r with risers of 0.2 meter.  The  Concept  The s l o p e from the Park P r o m e n a d e to the b e a c h , east of The S a n d Theatre, varies from a m a x i m u m of 3 6 % a d j a c e n t to the steps of The S a n d Theatre to a m o r e g e n t l e s l o p e of 15% as o n e m o v e s e a s t w a r d a l o n g the w a l k w a y .  Plate 7.15 Stone block seating, Gantry Park, New York  R a n d o m l y a r r a n g e d granite b l o c k seating nestled in b e a c h v e g e t a t i o n invites a person to venture d o w n the slope to the b e a c h (Plate 7.16), c r e a t i n g a m o r e t a c t i l e route to the b e a c h t h a n the steps. The granite blocks a r e a n extension of D o n V a u g h n ' s ' G r a n i t e A s s e m b l a g e ' (see p a g e 22). The b l o c k s p r o v i d e s e a t i n g h e r e but still h o n o u r his intent to e m p h a s i z e the role of locally d e r i v e d g r a n i t e rip-rap w h i c h c r e a t e s a n artificial barrier b e t w e e n the b e a c h a n d the o c e a n a l o n g the C e n t e n n i a l S e a w a l k . The blocks are a r r a n g e d in s u c h a w a y as to e n c o u r a g e c o n v e r s a t i o n , after the p r e c e d e n t from G a n t r y Park, N e w York (Plate 7.15).  Plate 7.16 Park Promenade with granite block seating 56  The  Concept  7.4  A Stroll Along the Edge  The individual e l e m e n t s of the c o n c e p t u a l design for the A r g y l e Waterfront Park a r e p r e s e n t e d . The s e q u e n c e of presentation will b e from west to e a s t m o v i n g a l o n g this o c e a n e d g e .  7.4.1  Navvy Jack House and Garden  The m a i n east-west w a l k w a y of Argyle Waterfront Park, the Park P r o m e n a d e , begins a t 18th Street, w h e r e it joins the C e n t e n n i a l Seawalk. The Park P r o m e n a d e is set b a c k from the b e a c h v e g e t a t i o n , passing to the south of the historically significant N a v v y J a c k House, the h o m e of early settler J o h n Lawson. N a v v y J a c k house, l o c a t e d w h e r e Lawson C r e e k flows into t h e o c e a n , will b e restored to its original d e s i g n a n d b e c o m e the h o m e to c o m m u n i t y cultural a n d historical activities. It is p r o p o s e d that the designs for the g a r d e n s a n d patios of b o t h N a v v y J a c k House a n d the heritage Ferry Building G a l l e r y r e s p e c t their small s c a l e a n d history a n d b e distinctive from the m o r e o r g a n i c d e s i g n of the rest of the park. N a v y J a c k House is not only a c c e s s i b l e from the Park P r o m e n a d e but also from A r g y l e A v e n u e to the north. V e h i c u l a r a c c e s s to t h e h o u s e is p r o v i d e d a n d t e m p o r a r y p a r k i n g a n d parking for the d i s a b l e d exists a l o n g A r g y l e A v e n u e .  Plate 7.17 Navvy Jack House a n d G a r d e n , c o n c e p t u a l plan  It is p r o p o s e d that the p a t i o a n d g a r d e n of N a v v y J a c k House i n c o r p o r a t e e l e m e n t s of the o l d o r c h a r d a n d holly bushes that o n c e existed here. The g a r d e n a n d p a t i o p r o v i d e south a n d west f a c i n g p l a c e s to host o u t d o o r cultural activities, while t h e h e d g e a r o u n d t h e perimeter of the p r o p e r t y c r e a t e s a d e g r e e of p r i v a c y a n d also s o m e p r o t e c t i o n from the w i n d (Plate 7.17). The existing b e a c h - f r o n t retaining walls h a v e b e e n r e m o v e d , c r e a t i n g a continuous, naturally v e g e t a t e d e d g e b e t w e e n the b e a c h a n d the Park P r o m e n a d e . A n e l e v a t e d d e c k (Plate 7.18) extends over this e d g e , providing a p l a c e for pedestrians to p a u s e a n d to e x p e r i e n c e this p l a c e w h e r e L a w s o n C r e e k flows into the o c e a n . The d e c k also provides a d d i t i o n a l public s p a c e for activities r e l a t e d to N a v v y J a c k House. A seat wall a n d planter a l o n g t h e south e d g e of the house provides a d d i t i o n a l seating for pedestrians to rest a n d p e o p l e w a t c h . 57  The  Plate 7.18  Concept  Orthographic view of Navy Jack  House a n d Garden  P e r m a n e n t tables a n d chairs o n the d e c k a n d b e n c h e s in the g a r d e n a r e t y p i c a l of those d e s i g n e d for the park a n d will b e s e e n throughout this j o u r n e y a l o n g the e d g e . Unique furniture is p r o p o s e d for this park to reflect the t i m e w h e n the park is c r e a t e d . The furniture will b e d e s c r i b e d in the following s e c t i o n , Lawson Creek, Lawson Creek Sanctuary  and  The Great Lawn.  Flexible s e a t i n g , as s h o w n o n  the p a t i o , will b e a f e a t u r e of all the semi-private p l a c e s in the A r g y l e Waterfront Park.  The  Concept  7.4.2  Lawson Creek, Lawson Creek Sanctuary and the Great Lawn  Plate 7.19 Orthographic view of Lawson  Creek, Lawson Creek Sanctuary and The Great Lawn  Lawson C r e e k , presently in a n o p e n c o n c r e t e culvert, will b e a l l o w e d to flow m o r e freely b y eliminating a portion of the c o n c r e t e wall o n t h e e a s t side of the c r e e k . The c o n c r e t e west e d g e of the c r e e k will b e in stark contrast to t h e east b a n k of the creek, a visual e x a m p l e of the alteration of the natural system of runoff from the l a n d to the o c e a n by the e n c r o a c h m e n t of s e t t l e m e n t a l o n g this o c e a n e d g e . A t r e e d v e g e t a t i v e refuge, Lawson C r e e k S a n c t u a r y is c r e a t e d o n the east side of the c r e e k (Plates 7.19, 7.20). S o m e of the existing trees in this a r e a h a v e b e e n r e t a i n e d . The p r o p o s e d v e g e t a t i o n for t h e s a n c t u a r y will b e primarily i n d i g e n o u s to this e n v i r o n m e n t to c r e a t e a naturally v e g e t a t e d sanctuary. S o m e sheltered, partially h i d d e n seating has b e e n p r o v i d e d within the sanctuary. This will b e a p l a c e to sit quietly n e a r the c r e e k . A p a t h l e a d s  The  Concept  through the trees to 17th Street, providing direct a c c e s s to N a v v y J a c k House from the c o m m u n i t y . The configuration of trees a l o n g the p a t h w a y c r e a t e s glimpses of N a v v y J a c k House as o n e walks t o w a r d the c r e e k crossing (Plate  7.21).  Plate 7.20 Lawson Creek, Lawson Creek Sanctuary a n d The Great Lawn, conceptual plan.  Plate 7.21 Path to bridge and Navvy Jack House  The  Concept  A b r i d g e spans L a w s o n C r e e k n e a r its m o u t h (Plates 7.19, 7.20) a n d affords the o p p o r t u n i t y to e x p e r i e n c e this p l a c e w h e r e Lawson C r e e k flows into t h e o c e a n , a n i n t e r f a c e that is constantly c h a n g i n g with time, w e a t h e r c o n d i t i o n s a n d seasons. The b r i d g e provides a n e l e v a t e d p e r s p e c t i v e of this n a t u r a l p h e n o m e n a of fresh w a t e r flowing into o c e a n water. The o v e r l a p p i n g sounds of the creek, the o c e a n a n d the w i n d will c h a n g e as o n e m o v e s closer to, o v e r a n d t h e n a w a y from the b r i d g e . The bridge railing a n d the railing a r o u n d the N a v v y J a c k House d e c k will b e similar to the n e w f e n c i n g p r o p o s e d for t h e rail line b o r d e r i n g the Argyle Waterfront Park, to help to give a u n i q u e r e c o g n i z a b l e c h a r a c t e r to the park. The d e s i g n of the railing will i n c o r p o r a t e t h e a l u m i n u m m e s h f o u n d in all of the park s e a t i n g a n d will b e d e s c r i b e d in t h e s e c t i o n Threading  the Park Together, Linking it to the  Community.  The furniture f o u n d in the park is not a c o p y of a design of the past, nor o r d e r e d from a c a t a l o g u e , but u n i q u e to the conditions of t o d a y . The b e n c h e s , tables, chairs a n d p i c n i c tables a r e m a d e of granite a n d a l u m i n u m . The granite is in r e f e r e n c e to the granite boulders a n d p e b b l e s f o u n d in the c r e e k a n d o n the b e a c h , that h a v e b e e n e r o d e d from the granitic C o a s t Mountains. A l u m i n u m is u s e d for its practicality. The t a b l e tops a n d seats are m a d e of a l u m i n u m m e s h that will a l l o w r a i n w a t e r to pass through, drying quickly.  The  Concept  Plate 7.22 shows a c o m m o n configuration of chairs, b e n c h e s a n d t a b l e s within the park. The c o n f i g u r a t i o n of seating i m p a c t s useability a n d types of gatherings that c a n b e f a c i l i t a t e d . Furniture groupings e n c o u r a g e c o n v e r s a t i o n a n d small g r o u p gatherings.  Plate 7.24 Bench in section  Plate 7.25 Chair in section  Plate 7.22 Orthographic view of furniture in The Great Lawn Plate 7.26 Chair in side section  Plates 7.23 to 7.26 illustrate the d e s i g n of b e n c h e s a n d chairs for the park.  62  The  Concept  The design of p e r m a n e n t tables a n d chairs is s h o w n in Plates 7.27 a n d 7.28. The tables a r e d e s i g n e d t o h o l d umbrellas that will p r o v i d e shelter from sun or rain. These umbrellas c o u l d b e d e s i g n e d specifically for c o m m u n i t y events.  1  [  0.5 m e t e r  Plate 7.28 Table and chairs in section  The G r e a t L a w n (Plate 7.20), south-east of Lawson C r e e k S a n c t u a r y , is currently a p o p u l a r a r e a for family picnics. This grassy a r e a has b e e n r e d e s i g n e d b u t still provides p i c n i c tables for individuals a n d families. The p i c n i c t a b l e s a r e similar in c o n s t r u c t i o n to the t a b l e a n d chairs, m a d e of granite a n d a l u m i n u m a n d d e s i g n e d to h o l d large umbrellas for sun or rain (Plates 85, 86). The grassy a r e a spills south across t h e Park P r o m e n a d e . The G r e a t Lawn is l a r g e e n o u g h to host movies in t h e park.  The  Concept  C u r v e d g r e y - g r e e n glass walls a r e f o u n d in the a r e a of The G r e a t L a w n (Plate 7.19). Their positioning reflects w a v e form a n d direction. Their p r e c e d e n t is w e a t h e r e d glass w a s h e d u p o n t h e b e a c h by the w a v e s . These b o t t o m lit p a n e l s (Plate 7.29) reflect light during the day, a n d g l o w at night like glass reflecting moonlight. The c o l o u r of these glass panels c o m e s from t h e c o l o u r of o c e a n w a t e r (Plate 7.30). P e r m a n e n t seating is l o c a t e d o n t h e w i n d w a r d side of these three walls, o r i e n t e d for views to the horizon in the west (Plate 7.31). P e o p l e c a n also sit o n the l e e w a r d side, in the shelter of the walls. This s e m i - o p a q u e g r e y - g r e e n glass is f o u n d t h r o u g h o u t the park in the form of l o w walls a n d it is also p r o p o s e d for other lighting elements. The colour, texture a n d o p a c i t y of lighting e l e m e n t s m a d e with this glass will b e unique to this park a n d will not interfere with the night sky or night reflections of the m o o n , ships a n d buildings o n the o c e a n w a t e r .  Plate 7.29 Sand-blasted glass panels, Topher Delaney  Plate 7.30 The colour of o c e a n  Plate 7.31 Curved glass walls  The  Concept  Plate 7.32 Orthographic view of steps to  b e a c h at entrance to John Lawson Pier  C u r v e d steps l o c a t e d w h e r e the Park P r o m e n a d e m e e t s The Pier P r o m e n a d e (Plate 7.32) p r o v i d e a c c e s s to the b e a c h a n d s e a t i n g with views to the southwest or south-east. The children's p l a y structures h a v e b e e n r e m o v e d from this a r e a . The unstructured exploration o f f e r e d by this o c e a n e d g e d o e s not n e e d s u p p l e m e n t a t i o n . This is still a p l a c e for parents to socialize while their c h i l d r e n e x p l o r e the b e a c h .  The  Concept  Argyle Arts Pavilion and Gallery and John Lawson Pier  7.4.3  Plate 7.33 The Argyle Arts Pavilion a n d Gallery, conceptual plan  Plate 7.34 Orthographic view of The Argyle Arts Pavilion and Gallery  The Argyle Arts Pavilion and Gallery is located along the cultural, historical and community axis of 17th Street which now extends to John Lawson Pier as a pedestrian promenade, The Pier Promenade. The buildings of the arts complex appear to be washed up on the shore, trapped by the rail line at the urban edge (Plates 7.33, 7.34). The buildings are oriented along the wave form and  P  66  The  Concept  direction, their positions i n f o r m e d b y the disordered a r r a n g e m e n t of logs w a s h e d u p o n the b e a c h . K u r o k a w a believes that a r c h i t e c t u r e w h i c h is a s y m m e t r i c a l shows a quality of s t a b l e i m p e r m a n e n c e (in Steele, 105). In the p l a c e m e n t of these structures a d i a l o g u e is established b e t w e e n the curvilinear w a v e form, t o p o g r a p h y a n d t h e c o m m u n i t y grid w h i c h extends to the o c e a n as a c o n t i n u a t i o n of 17th Street. The s c a l e of these n e w buildings reflects t h e s c a l e of the existing waterfront houses a n d is in contrast to the s c a l e of buildings in t h e A m b l e s i d e c o m m e r c i a l a r e a (Plates 7.35, 7.36). W a v e s of o r n a m e n t a l grasses of different heights engulf the buildings to t h e north (Plate 7.34). The p r e c e d e n t is the native b e a c h grasses w h i c h b e g i n to engulf logs a b o v e t h e high tide line. The grasses will m o v e in t h e slightest breeze. As t h e y m o v e t h e y c r e a t e sounds. "Subtle a n d sinuous in their y i e l d i n g , they paint portraits of the w i n d " (Darke, 17). The m o v e m e n t of air c a u s e d b y a passing freight train will also b e r e v e a l e d visually by the grasses. Grasses w e r e also c h o s e n for their t r a n s l u c e n c y . Their a p p e a r a n c e c h a n g e s d r a m a t i c a l l y with c h a n g i n g a n g l e s of sunlight, e n h a n c i n g the e x p e r i e n c e of c h a n g i n g light conditions.  Plate 7.35 Existing waterfront buildings and commercial/ residential  Plate 7.36 Proposed waterfront buildings and commercial/ residential  The  Concept  The buildings a r e highly visible from the A m b l e s i d e c o m m e r c i a l district, strengthening t h e c o n n e c t i o n of the Argyle Waterfront Park with t h e c o m m u n i t y . H o w e v e r , their small s c a l e a n d orientation r e d u c e s their possibility of b l o c k i n g views to the o c e a n from the c o n d o m i n i u m s a n d a p a r t m e n t s to t h e north.  Plate 7.37 Eulogy to the Horizon, 1990  The designs of t h e G a l l e r y a n d Pavilion c a p t u r e views to the horizon. The G a l l e r y first c o n c e a l s t h e n reveals the horizon as a person a p p r o a c h e s it from 16th Street (Plate 7.38). A p r e c e d e n t is E d u a r d o Chillida's ' E u l o g y to t h e Horizon' (Plate 7.37). Chillida says, " A l l m e n are e q u a l at the horizon a n d w e a r e all brothers, the horizon is our c o m m o n h o m e l a n d " (Wagner, 2). H e i d e g g e r w r o t e that t h e sculpture of Chillida reveals the e x a c t c h a r a c t e r of a s p a c e a n d also reveals living s p a c e that is in relation to h u m a n s ( W a g n e r , 3). A person l e a v i n g the Pavilion will also h a v e a v i e w to the horizon f r a m e d b y trees in t h e foreground.  Plate 7.38 The Gallery conceals a n d reveals the horizon 68  The  Concept  The buildings will b e c o n s t r u c t e d of panels of g r e y - g r e e n glass. The t r a n s p a r e n c y , o p a c i t y a n d t r a n s l u c e n c y of this m a t e r i a l e n a b l e s t h e buildings, like the o c e a n , to c o n c e a l , suggest or m a k e a p p a r e n t (Plate 7.39) w h a t lies within. The g l a z e d p a n e l s will reflect light in d i a l o g u e with t h e o c e a n w a t e r . A n night these buildings will b e inviting, suggesting w h a t events a r e t a k i n g p l a c e within. A p r e c e d e n t for their design is The Rodin M u s e u m in Seoul, K o r e a (Plate 7.40). Similarly to t h e i m a g e of t h e Rodin M u s e u m s h o w n in P l a t e 7.41, t h e grasses a d j a c e n t to the buildings will b e c o m e s silhouetted a g a i n s t the b a c k d r o p of t h e m u s e u m a t night, m o v i n g in the slightest w i n d , like a s h a d o w play. The orientation of the gallery a n d the pavilion minimizes the e x p o s u r e of t h e inside of the buildings t o t h e strongest sun of m i d - d a y c o m i n g f r o m t h e south. The t r a n s p a r e n c y of t h e glass p a n e l s c a n b e a d j u s t e d to r e d u c e or e l i m i n a t e  Plate 7.39 Atelier Mimesis studio, Germany  Plate 7.40 Rodin Museum, Seoul  Plate 7.41 Rodin Museum at night, Seoul  The  Concept  d a y l i g h t entering the building if n e c e s s i t a t e d by a n exhibition or e v e n t . It is p r o p o s e d that t h e G a l l e r y a n d Pavilion s p a c e s b e relatively u n p r o g r a m m e d so that artists c a n o c c u p y the s p a c e s as they like, t a k e a n y position. The interior s p a c e s , like the o c e a n e d g e itself will not b e static but c o n s t a n t l y c h a n g i n g . The Pavilion will h a v e tall glass doors w h i c h o p e n to the horizon a n d to t h e inner c o u r t y a r d , m a k i n g the Pavilion a n extension of the park a n d blurring the definition b e t w e e n inside a n d outside. The G a l l e r y has three c o m p o n e n t s , like logs p i l e d u p on the b e a c h a n d r e s p o n d s to the m o v e m e n t of p e o p l e , providing different p e r s p e c t i v e s from w h i c h to e x p e r i e n c e art. The G a l l e r y has a n o u t d o o r roof a r e a a v a i l a b l e for o u t d o o r display or p e r f o r m a n c e s . This roof a r e a c r e a t e s a p l a c e for art to b e e x p e r i e n c e d from a b o v e , b e l o w , inside or outside. The r o o f - t o p art installation s p a c e has views to the park, the o c e a n , the horizon a n d to t h e m o u n t a i n s . Set b a c k from the b e a c h a n d f r a m e d by trees, it is sheltered from w i n d , y e t r e c e i v e s filtered sunlight from the south (Plates 7.34, 7.38).  Plate 7.42 Sonnenhausen estate, Glonn  Plate 7.43 Town square, Gummersbach  The d e s i g n of the Argyle Arts Pavilion a n d G a l l e r y c o m p l e x also reveals natural h y d r o l o g i c processes a n d m a k e s t h e m a n e x p e r i e n c e of t h e senses. W a t e r flow patterns o b s e r v e d in nature a r e r e v e a l e d in the c o u r t y a r d b e t w e e n t h e Pavilion a n d t h e G a l l e r y . R a i n w a t e r will run across the c o u r t y a r d a n d entry p l a z a in small depressions in t h e c o n c r e t e a n d c o n c r e t e a g g r e g a t e p a v i n g , flowing into a p e b b l e - f i l l e d trough that will b e full or e m p t y of w a t e r d e p e n d i n g o n w e a t h e r c o n d i t i o n s . P r e c e d e n t s showing h o w t h e m o v e m e n t of r a i n w a t e r c a n b e i n c o r p o r a t e d in the built form a r e s h o w n in Plates 7.42 a n d 7.43. These rainwaterfilled depressions will b e tactile, i n t e r a c t i v e a n d will i n c r e a s e e n v i r o n m e n t a l awareness.  The  Concept  C o b b l e s a n d p e b b l e s a r e u s e d throughout the d e s i g n for t h e A r g y l e Waterfront Park to i n d i c a t e a r e a s a s s o c i a t e d with natural r a i n w a t e r flow a n d infiltration. These naturally o c c u r in a r e a s of this o c e a n e d g e a s s o c i a t e d with w a t e r , t h e b e a c h a n d the c r e e k b e d . The colours a n d textures of p e b b l e s a n d c o b b l e s a r e r e v e a l e d w h e n they a r e w e t . Plate 7.44 shows a p r e c e d e n t for t h e p e b b l e - f i l l e d trough. Plate 7.45 shows t h e flow of rainwater in t h e c o u r t y a r d .  Plate 7.44 Pebbles in trough  Plate 7.45 Flow of rainwater, Argyle Arts Pavilion and Gallery  The Pavilion has a glass roof. R a i n w a t e r c o l l e c t e d from the roof flows o v e r the e d g e of the roof to c r e a t e a w a t e r f a l l a l o n g the southern e d g e of the building. The s o u n d a n d intensity of t h e w a t e r f a l l will vary from a small trickle to a sheet of w a t e r a n d c a n b e e x p e r i e n c e d from inside a n d outside (Plate 7.46) the building A person c a n w a l k b e t w e e n the w a t e r f a l l a n d the southernmost Pavilion w a l l or  71  The  Concept  o v e r the troughs w h e r e the w a t e r f a l l w a t e r flows into the p e b b l e t r o u g h . These troughs a r e c o v e r e d with a l u m i n u m m e s h grates. The G a l l e r y has v e g e t a t e d roofs, that find their origin in t h e v e g e t a t i o n that engulfs logs w a s h e d u p o n the b e a c h , a b o v e the high tide line. W a t e r from the o u t d o o r roof d i s p l a y a n d p e r f o r m a n c e a r e a flows visibly d o w n a c h a i n drain to the p e b b l e - f i l l e d trough.  Plate 7.46 Pavilion, waterfall, pebble-filled  trough  The w a t e r is c o l l e c t e d a n d stored in b e l o w - g r o u n d cisterns for irrigation. The circular p e b b l e - f i l l e d troughs in the c o u r t y a r d a n d e n t r a n c e p l a z a e a c h surround a n i n d i g e n o u s s p e c i e s of tree with w a t e r a n d sun requirements s p e c i f i c to their locations. These a r e in r e f e r e n c e to t h e natural pre-settlement c o n d i t i o n s of this ocean edge.  The  Concept  The half m e t e r tall c o n c r e t e s e a t walls a l o n g the e d g e of t h e p e b b l e - f i l l e d troughs p r o v i d e p e r m a n e n t s e a t i n g for both the c o u r t y a r d a n d t h e grassy a r e a to the south. The s e a t w a l l has o p e n i n g s w h e r e the shallow depressions in t h e c o u r t y a r d a n d entry p l a z a p a v i n g , m e e t the troughs. Trees p r o v i d e s h a d i n g a l o n g this seating. The c o u r t y a r d is a n o u t d o o r a r e a w h e r e a s e m i - p r i v a t e f u n c t i o n a s s o c i a t e d with t h e Pavilion or Gallery c a n o c c u r a n d t e m p o r a r y s e a t i n g c a n b e installed. M a i n t a i n i n g the existing d i a l e c t i c b e t w e e n p u b l i c a n d private p l a c e s a l o n g this o c e a n e d g e , a n y g a t h e r i n g in the c o u r t y a r d is visible a n d a c c e s s i b l e to t h e p u b l i c . The orientation of the c o u r t y a r d strengthens ties to the railway a n d t h e p e r m a n e n t seating f a c i n g north e n c o u r a g e s views to t h e larger l a n d s c a p e of t h e C o a s t Mountains. The Pier P r o m e n a d e to J o h n L a w s o n Pier is lined with o r n a m e n t a l grasses a n d c u r v e d g r e y - g r e e n glass p a n e l s w h i c h are also light sources a t night a n d o n d a r k rainy d a y s (Plate 7.47). The grasses a r e silhouetted against t h e glass.  The  Concept  The strong visual a n d spatial connection between the foot of 17th Street a n d John Lawson Pier, a n d its adjacency to the proposed complex for cultural activities will transform the pier into a place to congregate a n d linger. A re-design of the pier will aid in this transformation. John Lawson Pier will b e reconstructed in its original location a n d widened to form a strong terminus to West Vancouver's axis of history a n d culture at the land - o c e a n interface where this community b e g a n . Plate 7.49 shows the proposed location of the new pier. The pier will have both exposed and sheltered seating with room for social a n d cultural events (Plate 7.48). It will also have an attached floating dock to facilitate the arrival of people by small water craft (Plate 7.50).  Plate 7.49 Relocation of John Lawson Pier  Plate 7.50 Orthographic view of John Lawson Pier  The 7.4.4  Concept The Harmony Arts Parkland  A n a r e a of grass a n d trees borders t h e Argyle Arts Pavilion a n d G a l l e r y to t h e south a n d east (Plates 7.51, 7.52). The Silk Purse G a l l e r y a n d H a r m o n y Arts Festival o f f i c e presently exist here. The Silk Purse Gallery has b e e n r e i n v e n t e d in t h e n e w A r g y l e Arts G a l l e r y a n d this c o n c e p t u a l design p r o p o s e s t o r e l o c a t e t h e H a r m o n y Arts Festival office t o a n e w c o m m u n i t y facility c o n s t r u c t e d o n t h e site of t h e M a s o n i c Hall, n e a r t h e c o r n e r of Belleuvue A v e n u e a n d 17th Street, just a f e w steps a w a y from t h e cultural axis of 17th Street. This will b e d i s c u s s e d in m o r e d e t a i l in t h e s e c t i o n , Strengthening the Vitality of the Built Edge.  Plate 7.51 The Harmony Arts Parkland, conceptual plan  The  Concept  The P a r k l a n d has a variety of t r e e d a n d o p e n grassy areas of v a r y i n g sizes a n d d e g r e e s of enclosure. P i c n i c tables, b e n c h e s a n d chairs a r e s c a t t e r e d t h r o u g h o u t this a r e a for individuals a n d small groups. A person c a n c h o o s e b e t w e e n a n o p e n sunny l o c a t i o n or a s h a d y one, a n d b e t w e e n a p l a c e in the w i n d or o n e s h e l t e r e d from it. The linked grassy areas of different orientations c a n b e o c c u p i e d during c o m m u n i t y social a n d cultural events. The smaller a r e a s e n c l o s e d by trees c o u l d b e , for e x a m p l e , kitchens for a c o m m u n i t y culinary e v e n t . The H a r m o n y Arts Parkland offers a variety of p l a c e s for p u b l i c art installations. Three d i m e n s i o n a l art, like the Kalkriese listening pavilion in Kalkriese A r c h a e o l o g i c a l M u s e u m Park in G e r m a n y (Plate 7.53) is a n e x a m p l e of the synthesis of art with the e n v i r o n m e n t it inhabits. The listening pavilion invites a person to enter a s o u n d p r o o f structure, then listen to the sounds of t h e forest b y c h a n g i n g the position of the listening d e v i c e inside. It is h o p e d t h a t this d y n a m i c o c e a n e d g e will e n c o u r a g e similar interactive installations.  Plate 7.52 Orthographic view of Harmony Arts Parkland  The  Concept  At the 16th Street entrance to the park, aggregate concrete pavers set in the grass invite a person to wander on the grass of the Harmony Arts Parkland. Plate 7.54 shows a precedent of concrete pavers in grass from a garden designed by Dan Kiley in 1994. A narrow path of pavers leads a person east to the base of The Solar Slopes. Moving east along the Park Promenade, the walkway meanders a w a y from the b e a c h a n d a person has glimpses of a semi-private garden. The current grid of residential settlement a n d the memory of the Harmony Arts Festival house a n d Silk Purse Gallery house will inform the location a n d design of this garden.  The  Concept  7.4.5 The Solar Slopes A o n e m e t e r t o p o g r a p h i c depression b e t w e e n 15th a n d 16th Streets a l o n g Bellevue A v e n u e a f f o r d e d the opportunity to c r e a t e the Solar Slopes, a l a n d f o r m that r e a c h e s 2.5 meters a b o v e the existing e l e v a t i o n at its highest point (Plates 7.55, 7.56). The restructuring of the l a n d - b e a c h i n t e r f a c e as well as the e x c a v a t i o n n e e d e d for the construction of the o n e level of u n d e r g r o u n d parking u n d e r Bellevue G r e e n , north of the Argyle Arts Pavilion a n d G a l l e r y provides the fill n e e d e d for this earthwork. P e o p l e sunning, sitting, w a l k i n g a n d relaxing will b e visible from Bellevue A v e n u e . This will c r e a t e a visual c o n n e c t i v i t y b e t w e e n the park a n d A m b l e s i d e Village.  Plate 7.55 Orthographic view of The Solar Slopes  Plate 7.56 The Solar Slopes, conceptual plan  The  Concept  The a v e r a g e g r a d e of The Solar Slopes is 22%. The earthwork gives a n e l e v a t e d p e r s p e c t i v e of the entire A r g y l e Waterfront Park, the o c e a n a n d b e y o n d (Plate 7.57). The s o u t h - f a c i n g grassy a r e a of the slopes invites l o u n g i n g in the sun. The o r g a n i c form of the e a r t h w o r k r e f e r e n c e s w a v e form a n d t h e o c e a n e d g e . It provides b o t h exposure to a n d shelter from the w i n d a n d t h e w e a v e of sounds will vary with a person's position. At the t o p of the Solar Slopes u r b a n sounds from A m b l e s i d e V i l l a g e will mix with those of this o c e a n e d g e .  Plate 7.57 View to horizon and park from top of The Solar Slopes  Plate 7.58 Wind vanes a n d glass wall  The o p e n , grassy a r e a of The Solar Slopes spills south o v e r t h e b a r e l y visible p a t h of pavers w h i c h borders t h e b a s e of the slope, t h e n across t h e Park P r o m e n a d e to t h e b e a c h , linking the earthwork with the b e a c h a n d o c e a n . The l o w greyg r e e n glass walls a n d t h e rows of w i n d vanes f o u n d here r e v e a l t h e present property lines a n d e d g e s of existing waterfront patios (Plate 7.58). The glass walls, like the present private patios, provide p l a c e s to find e x p o s u r e or shelter from the w i n d a n d sun. The w i n d v a n e s c e l e b r a t e the w i n d a n d their w o o d e n posts c a n function as supports for tents during a c o m m u n i t y e v e n t . The c r e a t i o n of The Solar Slopes a f f o r d e d the opportunity to c r e a t e t h e s e a t i n g o n its eastern slope for the E d g e P e r f o r m a n c e Plaza, d e s c r i b e d in the following section.  The Concept 7.5.6  The Edge Performance Plaza, Sand Theatre and Wind Garden  The E d g e P e r f o r m a n c e Plaza a n d The S a n d Theatre, p l a c e s for artistic a n d cultural events, a r e l o c a t e d a t the f o o t of 15th Street, the m a i n north-south a c c e s s r o a d to the waterfront from t h e c o m m u n i t y (Plates 7.59, 7.60). The a r e a is highly visible from a n d directly a d j a c e n t to, the c o m m e r c i a l district. The pedestrian only e n t r a n c e to the P l a z a is f r a m e d by the s a m e g r e y - g r e e n l o w glass walls a n d o r n a m e n t a l grasses f o u n d a t the e n t r a n c e to t h e A r g y l e Arts Pavilion a n d G a l l e r y a n d The Pier P r o m e n a d e . The design of t h e s e p l a c e s is a synthesis of p e r f o r m a n c e a r e a s with t h e o c e a n , air a n d rail line.  Plate 7.59 The Edge Performance Plaza, The Sand Theatre a n d The Wind Garden, c o n c e p t u a l plan  Plate 7.60 Orthographic view of The Edge Performance Plaza, The Sand Theatre a n d The Wind Garden  The  Concept  P e r m a n e n t s e a t i n g for t h e E d g e P e r f o r m a n c e Plaza is f o u n d o n the e a s t e r n slopes of The Solar Slopes earthwork. The seating takes the form of l o w g r a n i t e a n d a l u m i n u m m e s h b e n c h e s , that a r e c u r v e d in response to t h e form of t h e earthwork (Plate 7.61). A p r e c e d e n t for these b e n c h e s is s h o w n in P l a t e 7.62. The a u d i e n c e for a p e r f o r m a n c e c a n sit or stand o n the grassy s l o p e of t h e earthwork a n d a u d i e n c e m e m b e r s c a n find sun or s h a d e . The Lion's G a t e Bridge in the east b e c o m e s the b a c k d r o p to a p e r f o r m a n c e v i e w e d from this p e r m a n e n t seating. The small s c a l e a n d organic, intimate c o n t e x t u a l c o n d i t i o n s of this seating m a k e s it a p l a c e for groups or individuals. The P l a z a p e r f o r m a n c e s p a c e d o e s not h a v e a d e s i g n a t e d p e r f o r m a n c e a r e a . A n y n u m b e r of configurations c a n b e c h o s e n , k e e p i n g the s p a c e loose, e v e r c h a n g i n g , fluctuating, a n d vibrant, like the e x p e r i e n c e of a n o c e a n e d g e . Artists c a n c o m p o s e a n d o r g a n i z e their o w n s p a c e , time a n d actions. T e m p o r a r y s e a t i n g c a n b e c o n f i g u r e d in a n y w a y .  Plate 7.61 Orthographic view of seating  Plate 7.62 Steel benches, Kathryn Gustafson, France  The  Concept  Plate 7.63 Birds-eye view of The Sand Theatre  The S a n d Theatre (Plates 7.59, 7.60, 7.63) is f o r m e d by the steps w h i c h l e a d to the e x p a n d e d b e a c h a r e a . The S a n d Theatre is a p l a c e to sit a t t h e e d g e of t h e b e a c h as well as a t h e a t r e for o r g a n i z e d cultural activities a n d i m p r o m p t u p e r f o r m a n c e s . The S a n d Theatre configuration will c h a n g e with w a v e s a n d tides. The disorder of the b e a c h s t a g e will e n c o u r a g e i m a g i n a t i v e p e r f o r m a n c e s . Here the a u d i e n c e c a n sit on logs or o n t h e s a n d a n d rocks as a t a c t i l e a l t e r n a t i v e to t h e c o n c r e t e steps. The S a n d Theatre s e a t i n g c a n b e u s e d for events o c c u r r i n g o n t h e water. The w i d e n i n g of the b e a c h will a l l o w b e a c h fires to b e built during existing c e l e b r a t i o n s s u c h as The First Night c e l e b r a t i o n a n d c a r o l ship e v e n i n g s . Both o u t d o o r p e r f o r m a n c e p l a c e s are subject to w e a t h e r c o n d i t i o n s . The sounds of this o c e a n e d g e , the w i n d , w a v e s , birds, o c e a n vessels, p l a n e s a n d t h e train, will a d d a richness a n d u n p r e d i c t a b i l i t y to activities o c c u r r i n g a t this e d g e . The u n p r o g r a m m e d nature of the p e r f o r m a n c e p l a c e s e n c o u r a g e s t h e a u d i e n c e to  The  Concept  b e c o m e part of the ' p r o g r a m ' . Events will b e w o v e n t o g e t h e r b y a u d i e n c e p a r t i c i p a t i o n in t h e m . Performers a n d a u d i e n c e m e m b e r s c a n arrive b y train or b y s e a , c r e a t i n g a n e x p e r i e n c e that not only reveals the c o n d i t i o n s of this o c e a n e d g e but honours the m e m o r y of the past a n d the i m p o r t a n c e of t h e o c e a n a n d t h e rail line to the early setters of this waterfront e d g e .  Plate 7.64 Wind garden adjacent to The Edge Performance Plaza a n d The Sand Theatre  A W i n d G a r d e n has b e e n d e s i g n e d for this important c e n t r e of activity. It will b e visible (Plate 7.64, 7.65) a n d h e a r d from b o t h p e r f o r m a n c e p l a c e s . Pedestrians w a l k i n g or running a l o n g t h e Park P r o m e n a d e will pass t h r o u g h the W i n d Garden.  The  Concept  The W i n d G a r d e n consists of 3 rows of w i n d v a n e s w h i c h a r e a r r a n g e d a l o n g the o r g a n i c w a v e f o r m p a t t e r n that informs the l o c a t i o n of p r o p o s e d trees (Plate 7.65). The g a r d e n of w i n d v a n e s will g i v e the m e n t a l i m a g e of air m o v e m e n t . Plate 7.66 shows E d u a r d o Chillida's sculpture, " C o m b s of the W i n d " , a n art installation that heightens t h e e x p e r i e n c e of the w i n d at the o c e a n e d g e . W i n d v a n e s will also b e l o c a t e d in other a r e a s a l o n g the o c e a n e d g e to r e v e a l the c h a n g i n g c o n d i t i o n s of w i n d s p e e d a n d direction. They will b e u n i q u e to this park a n d h e l p to d e f i n e its c h a r a c t e r . A c o m p e t i t i o n c o u l d b e h e l d to d e s i g n the w i n d v a n e s . S o m e p r e c e d e n t s of w i n d v a n e s from the turn of t h e c e n t u r y are s h o w n in Plates 7.67, 7.68, 7.69. Plate 7.66 C o m b s of the Wind, Chiilllida, 19;  Plate 7.69 Sailboat and seagulls  Plate 7.65 Wind G a r d e n  The  Plate 7.70 Spiral pebble paving  Concept  O p e n d r a i n a g e depressions in the P l a z a c o u l d b e hazardous to performers d u e to the irregularity of the s u r f a c e a n d d u e to the use of e l e c t r i c a l d e v i c e s for s o u n d a n d lighting during p e r f o r m a n c e s . The d r a i n a g e c h a n n e l s h e r e h a v e a l u m i n u m m e s h covers. R a i n w a t e r flows from the c h a n n e l s into drains in t h e centres of spiral p e b b l e p a v i n g patterns. A p r e c e d e n t for the spiral p e b b l e p a v i n g p a t t e r n is s h o w n in Plate 7.70. The pattern is in r e f e r e n c e to t h e infiltration of rainwater. The r o u g h texture of t h e p e b b l e s will b e felt b y pedestrians. A g a i n the design reveals natural h y d r o l o g i c processes a n d makes t h e m a n e x p e r i e n c e of the senses. All r a i n w a t e r c o l l e c t e d will b e stored in a cistern for irrigation purposes. A w a s h r o o m facility is l o c a t e d a d j a c e n t to the rail line (Plate 7.71). As with the buildings of the A r g y l e Arts Pavilion a n d Gallery, the intent is t o c r e a t e a building that seems to b e w a s h e d u p a n d t r a p p e d b y the rail line, the r e p r e s e n t a t i o n of the u r b a n e d g e . The design of the building uses the p a l e t t e of g r e y - g r e e n glass panels t o g e t h e r with c o n c r e t e . A p r e c e d e n t for the building c l a d d i n g is s e e n in the design for the Kirchner M u s e u m in Switzerland, shown in P l a t e 7.72. Here the a r c h i t e c t s c o v e r e d c o n c r e t e with glass in areas of the m u s e u m w h e r e n o natural light enters the building. Glass c l o d d e d c o n c r e t e is p r o p o s e d for a r e a s of the w a s h r o o m that n e e d p r i v a c y . Translucent glass panels a b o v e e y e level a l l o w p e o p l e using the facility to s e e a train pass b y from inside t h e b u i l d i n g . A v e g e t a t e d roof a g a i n finds its origin in the v e g e t a t i o n that engulfs logs w a s h e d u p a b o v e the high tide line. V e g e t a t i o n , in the form of c l u m p i n g b a m b o o surrounds t h e building, c r e a t i n g a w a s h r o o m facility that is partly h i d d e n . The b a m b o o , like the o r n a m e n t a l grasses u s e d elsewhere will r e s p o n d to w i n d a n d t o the d i s p l a c e m e n t of air b y passing freight trains. The b a m b o o will b e silhouetted against the building a t night w h e n light flows from the inside out.  Plate 7.72 Kirchner Museum Davos, 1992 85  The 7.5.7  1  '  1  ']  t  " 1  11  1  ••i  ^Qj4  *  4 ^.~  Plate 7.73 Orthographic view of The Bosque a n d The Galleria  Plate 7.74 The Bosque and The Galleria. c o n c e p t u a l plan  f  p  Concept The Bosque and The Galleria  ...... 1 '  V  A n u n c o n v e n t i o n a l b o s q u e (Plates 7.73, 7.74) mirrors The W i n d G a r d e n to t h e east. All of t h e d e c i d u o u s trees of The Bosque will b e lighted d u r i n g all seasons to c r e a t e a n e v e r - c h a n g i n g e d g e a n d b a c k d r o p to the E d g e P e r f o r m a n c e Plaza. Fragrant, summer-flowering d e c i d u o u s trees with b e a u t i f u l fall c o l o u r a n d a n e l e g a n t form w h e n b a r e , a r e s u g g e s t e d for The Bosque. A n a r r o w p a t h of a g g r e g a t e c o n c r e t e pavers set in grass leads from the Wind G a r d e n , t h r o u g h the Bosque to The G a l l e r i a . The G a l l e r i a (Plates 7.73, 7.74) is a n a r e a of semi-private g a r d e n s within this p u b l i c waterfront park. The existing p r o p e r t y lines form the e d g e s of t h e s e g a r d e n s a n d c o u l d t a k e m a n y forms. Plates 7.75, 7.76 a n d 7.77 show s o m e p r e c e d e n t s for forms these g a r d e n e d g e s c o u l d t a k e . The e d g e s c a n b e c o n t i n u o u s or discontinuous. The use of property lines as e d g e s for these g a r d e n s c r e a t e s a persistency in the l a n d s c a p e w h i c h distinguishes the p e r m a n e n t o v e r t h e transitory a n d e v e r - c h a n g i n g . The g a r d e n s a r e o p e n to a l a r g e grassy a r e a to  The  Concept  t h e south, m a i n t a i n i n g the existing sense of t r a n s p a r e n c y a l o n g t h e i n t e r f a c e of private a n d p u b l i c . These small s c a l e gardens, like the existing p r i v a t e b e a c h front patios a n d gardens, h a v e a h u m a n s c a l e . They will p r o v i d e r e f u g e from w i n d , sun a n d rain while still p r o v i d i n g a p r o s p e c t of t h e o c e a n . In t h e m a n n e r of the P a r q u e C i t r o e n in Paris, these semi-private g a r d e n s will b e d e s i g n e d through a d e s i g n c o m p e t i t i o n r e l a t e d to the sensory e x p e r i e n c e s of t h e natural p h e n o m e n a of this o c e a n e d g e . They c o u l d b e e p h e m e r a l or p e r m a n e n t . They will also b e p l a c e s for art installations. It is p r o p o s e d that the existing c o m m u n i t y g a r d e n s l o c a t e d a l o n g A r g y l e A v e n u e b e r e l o c a t e d to the l a n d just south of the rail line. These c o u l d b e m a i n t a i n e d as t h e y a r e t o d a y or a l t e r n a t e l y s o m e of these g a r d e n plots c o u l d b e c o m e k i t c h e n g a r d e n s for the restaurants l o c a t e d a l o n g Bellevue A v e n u e . This w o u l d foster a sense of c o m m u n i t y ownership. A c c e s s to the k i t c h e n g a r d e n s is from t h e t e m p o r a r y parking a d j a c e n t to the Ferry Building Gallery. A g r a v e l p a t h l e a d s west to the w a s h r o o m facility w h e r e a n o u t d o o r w a s h i n g station for the g a r d e n s is f o u n d . Irrigation is from c o l l e c t e d rainwater, a u g m e n t e d if n e c e s s a r y by p o t a b l e water.  Plate 7.76 Shadows on wall as an e d g e  Plate 7.77 Overlapping perforated steel panels  The  Concept  7.4.8 The Patio and Garden at the Ferry Building Gallery A p a t i o a n d g a r d e n is p r o p o s e d for t h e a r e a to t h e west of t h e Ferry Building Gallery (Plate 7.78). The p l a n t p a l e t t e a n d design of t h e g a r d e n is similar to that p r o p o s e d for t h e h e r i t a g e N a v v y J a c k House, m a k i n g this r e c o g n i z a b l e as a g a r d e n a s s o c i a t e d with a h e r i t a g e building. The small g a r d e n has s e a t wall s e a t i n g a n d forms t h e eastern e n t r a n c e to The G a l l e r i a . A raised south a n d west f a c i n g p a t i o of p e r m a n e n t s e a t i n g overlooks t h e g a r d e n s of The G a l l e r i a . The p a t i o a n d g a r d e n p r o v i d e p l a c e s for o u t d o o r functions a s s o c i a t e d with the Ferry Building G a l l e r y but c a n also b e u s e d b y individuals. The t a b l e s , as  d e s c r i b e d in the section, Lowson Creek, Lawson Creek Sanctuary and The Great  Plate 7.78 Orthographic view of Patio a n d G a r d e n of Ferry Building Gallery  Lawn, c a n h o l d l a r g e umbrellas w h i c h will p r o v i d e p r o t e c t i o n from t h e sun a n d rain. Trees also p r o v i d e s h a d e in summer. Tree grates a n d drains in this a r e a will use t h e p e b b l e p r e c e d e n t to i n d i c a t e t h e infiltration of rainwater. P l a t e 7.79 is a c o n c e p t u a l d r a w i n g of t h e p r o p o s e d d e s i g n for tree grates. O p e n i n g s in the tree g r a t e r e p l i c a t e t h e p e b b l e p a v i n g design f o u n d in a r e a s of r a i n w a t e r infiltration o n p a v e d surfaces. The seating o n t h e p a t i o a n d also t h e g r a n i t e b l o c k seating that extends a l o n g The Park P r o m e n a d e south of The G a l l e r i a will p r o v i d e a d d i t i o n a l p l a c e s to w a i t for t h e p r o p o s e d TransLink p a s s e n g e r ferry b e t w e e n V a n c o u v e r a n d A m b l e s i d e L a n d i n g Pier. V e h i c u l a r a c c e s s t o t h e Ferry Building G a l l e r y is r e t a i n e d a n d t e m p o r a r y parking a n d parking for t h e d i s a b l e d exists north of t h e g a r d e n .  Plate 7.79 Spiral pebble-pattern tree grate  The 7.4.9  Concept Ambleside Landing Pier  A m b l e s i d e L a n d i n g Pier has b e e n w i d e n e d n e a r the shore to c r e a t e s p a c e for a Ticket O f f i c e , c a f e a n d a w a i t i n g a r e a o n the pier with m o v e a b l e t a b l e s a n d chairs (Plate 7.80). L o c a t i n g the Ticket O f f i c e o n the pier will e n c o u r a g e p e o p l e to e x p l o r e a n d linger on the pier, e x p e r i e n c i n g the w i n d a n d s p r a y from w a v e s o n w i n d y days. Shelter c a n b e f o u n d inside the building a n d p e o p l e c a n r e a r r a n g e the chairs a n d tables to find sun or s h a d e , w i n d or c a l m .  Plate 7.80 Orthographic view of Ambleside Landing Pier  The  Concept  7.5  Threading the Park Together, Linking it to the Community  Pedestrian w a l k w a y s a n d p a t h w a y s t h r e a d t o g e t h e r the individual e l e m e n t s p r o p o s e d for t h e Argyle Waterfront Park, a n d link the park with t h e c o m m u n i t y . Pedestrian w a l k w a y s a r e o r i e n t e d to p r o v i d e c h a n g i n g views, a n d c h a n g i n g exposure to sun, w i n d a n d sounds, while r e s p e c t i n g t o p o g r a p h y (Plate 7.81). The c u r v e d forms of the w a l k w a y s are e v o c a t i v e of the b e a c h , shoreline a n d w a v e s .  Plate 7.81 Pedestrian walkways  The s c a l e a n d s e q u e n c e of the m a i n east-west w a l k w a y , the Park P r o m e n a d e , relates to existing t o p o g r a p h i c conditions as well as to the b r o a d s c a l e of this linear e d g e , linking t o g e t h e r the d e s i g n elements like a n e c k l a c e . The m a i n eastwest p e d e s t r i a n w a l k w a y currently follows Argyle A v e n u e , just south of t h e rail line a n d pedestrians share the r o a d with vehicles. The p r o p o s e d m a i n east-west p e d e s t r i a n w a l k w a y is n o w a p e d e s t r i a n only w a l k w a y that m e a n d e r s c l o s e r to the b e a c h (Plate 7.81).  The  Concept  A r g y l e A v e n u e , o n c e the a c c e s s r o a d to the existing waterfront houses, n o w exists only to a l l o w a c c e s s to Hollyburn Sailing C l u b , the p u b l i c b o a t r a m p , t h e Ferry Building G a l l e r y a n d N a v v y J a c k House (see c o n c e p t u a l p l a n o n p a g e 47). The w i d t h of Argyle A v e n u e north of t h e Hollyburn Sailing C l u b has b e e n n a r r o w e d to a l l o w t h e sailing c l u b to b e set b a c k from the b e a c h . A p e d e s t r i a n w a l k w a y n o w exists a l o n g the shoreline, linking A m b l e s i d e L a n d i n g to the b e a c h  Plate 7.82 The Park Promenade linking Ambleside Landing with Ambleside Park  front w a l k w a y in A m b l e s i d e Park (Plate 7.82). The w a l k w a y crosses the p u b l i c b o a t l a u n c h a n d t h e s a i l b o a t l a u n c h , c o n n e c t i n g pedestrians with the activities o c c u r r i n g a l o n g t h e shoreline. Very high storm tides will result in w a v e s w a s h i n g o v e r this w a l k w a y , e n h a n c i n g the e x p e r i e n c e of w i n d - g e n e r a t e d w a v e s . Pedestrians w o u l d t h e n h a v e the c h o i c e of c o n t i n u i n g a l o n g the w a l k w a y or using the a l t e r n a t e route of A r g y l e A v e n u e .  91  The  Concept  The Park P r o m e n a d e is universally a c c e s s i b l e , 2.5 meters w i d e a n d p a v e d with porous c o n c r e t e with a n a g g r e g a t e c o n c r e t e e d g e . Plate 7.83 shows a n a r r o w e r version t h a n p r o p o s e d for this w a l k w a y , of c o n c r e t e with a n a g g r e g a t e c o n c r e t e e d g e . The porous c o n c r e t e offers i m p r o v e d infiltration of r a i n w a t e r r e d u c i n g t h e a m o u n t of stormwater runnoff. The l o w e r density of porous c o n c r e t e also r e d u c e s its h e a t storage c a p a c i t y a n d allows t h e c o o l e r , earth t e m p e r a t u r e s from b e l o w to c o o l the c o n c r e t e , a l l o w i n g t h e c o n c r e t e to a p p r o a c h natural g r o u n d c o v e r in h e a t a b s o r b i n g a n d s t o r a g e c a p a c i t y . P e b b l e s a n d c o b b l e s a r e u s e d throughout the design to i n d i c a t e t h e m o v e m e n t a n d infiltration of r a i n w a t e r from h a r d to soft surfaces. P e b b l e s a n d c o b b l e s naturally o c c u r o n t h e b e a c h a n d in Lawson Creek, a r e a s of n a t u r a l h y r o l o g i c a l processes. Pedestrians w a l k i n g across the e d g e of the Park P r o m e n a d e will s e e a n d feel t h e texture of t h e p e b b l e a g g r e g a t e e d g e , as t h e y m o v e from a h a r d to soft surface, m o v i n g in the s a m e direction as rainwater flows. Plate 7.83 Precedent of concrete paving with a n aggregate e d g e  S e c o n d a r y w a l k w a y s a r e m a d e of p e r m e a b l e a g g r e g a t e c o n c r e t e p a v e r s set in grass. P l a t e 7.84 shows a p r e c e d e n t for this t y p e of p a v i n g . The s e c o n d a r y w a l k w a y s a r e r e m o v e d from t h e l a n d - b e a c h e d g e (Plate 7.81) a n d offer m o r e shelter from w i n d a n d sun. They h a v e v a r i e d v e g e t a t i v e c o v e r a n d their orientation c r e a t e s v a r i e d a n d c h a n g i n g views. These w a l k w a y s will b e m o r e u n e v e n to w a l k o n , a transition b e t w e e n the h a r d - s u r f a c e d Park P r o m e n a d e a n d the grass. From a d i s t a n c e t h e s e c o n d a r y w a l k w a y s will d i s a p p e a r in t h e grass. Finally, g r a v e l p a t h w a y s a r e f o u n d in the Lawson C r e e k S a n c t u a r y a n d n e a r t h e k i t c h e n g a r d e n s in t h e a r e a of The Galleria. Their c o m p o s i t i o n reflects t h e m o r e o r g a n i c nature of their l o c a t i o n . Night lighting a l o n g the w a l k w a y s a n d p a t h w a y s will illuminate t h e trees a n d v e g e t a t i o n . No p e r m a n e n t lighting elements will illuminate from a b o v e waist height to preserve night views to the sky, the o c e a n a n d b e y o n d .  Plate 7.84 Concrete pavers in grass  The  Concept  Plate 7.85, a c o n c e p t u a l p l a n v i e w of a portion of L a w s o n C r e e k S a n c t u a r y illustrates the hierarchy of w a l k w a y design.  Plate 7.85 Walkway design  Strong north-south c o n n e c t i o n s b e t w e e n the Argyle Waterfront L a n d a n d t h e A m b l e s i d e c o m m e r c i a l district a n d n e i g h b o u r h o o d a r e c r e a t e d . The u n i q u e , w e l l - d e f i n e d c h a r a c t e r of e a c h a c c e s s point to the park will e x t e n d north a l o n g the a c c e s s streets to M a r i n e Drive in the form of sidewalk a n d street d e s i g n , s p e c i f i c street tree s e l e c t i o n a n d specific palettes of v e g e t a t i o n for traffic bulges. The d e s i g n of e a c h entry point to the park will r e v e a l their s p e c i f i c e x p e r i e n t i a l a n d c o n t e x t u a l conditions. The coniferous a n d b r o a d l e a f e v e r g r e e n v e g e t a t i o n g r o w i n g a l o n g the rail line visually reinforces the rain line as a barrier a n d will b e selectively r e m o v e d . The r e m o v a l of this v e g e t a t i o n will also i m p r o v e t h e visual c o n n e c t i o n b e t w e e n the c o m m e r c i a l district a n d the park. The d e s i g n of the links b e t w e e n Argyle Waterfront Park a n d t h e A m b l e s i d e n e i g h b o u r h o o d will e m b r a c e the existence of the rail line. The c h a i n link f e n c e e d g i n g the rail line a l o n g t h e north e d g e of the park will b e r e p l a c e d with  The  Concept  a u n i q u e a l u m i n u m f e n c e set a b o v e a low c o n c r e t e wall (Plate 7.86). The f e n c e will establish the rail line as s o m e t h i n g to b e c e l e b r a t e d . The a l u m i n u m f e n c e d e s i g n is r e p l i c a t e d in the railings f o u n d on A m b l e s i d e L a n d i n g Pier, J o h n L a w s o n Pier, the b r i d g e o v e r L a w s o n C r e e k a n d the N a v v y J a c k House d e c k . These similarly d e s i g n e d f e n c e s will h e l p to c r e a t e a r e c o g n i z a b l e c h a r a c t e r for t h e park, forming a c o n n e c t i v e t h r e a d to visually link w h a t s e e m to b e d i s p a r a t e parts of the park t o g e t h e r . The a l u m i n u m mesh c o m p o n e n t of this f e n c e is also f o u n d in the furniture d e s i g n e d for the park. Plate 7.87 shows a p r e c e d e n t for t h e f e n c e design. Rather t h a n h a v e a m o u n t a i n inspired design as this f e n c e d o e s , a sinuous, w a v e form p a t t e r n of a l u m i n u m mesh is p r o p o s e d .  Plate 7.86 Fence along rail line  Plate 7.87 Fence precedent  The  Concept  The 17th Street e n t r a n c e is n o w a primary e n t r a n c e to the A r g y l e Waterfront Park. A p e d e s t r i a n only p r o m e n a d e , The Pier P r o m e n a d e , links Bellevue A v e n u e to J o h n Lawson Pier. To help to e m p h a s i z e the i m p o r t a n c e of this e n t r a n c e a n d this axis of c o m m u n i t y , culture a n d history, the sidewalks b e t w e e n M a r i n e Drive a n d Bellevue A v e n u e h a v e b e e n w i d e n e d to 2.0 meters, to e n c o u r a g e o u t d o o r s e a t i n g a l o n g this s e c t i o n of 17th Street. Street trees f o u n d a l o n g 17th Street c o n t i n u e a l o n g t h e Pier P r o m e n a d e into the park. The 17th Street e n t r a n c e is the primary e n t r a n c e for The Argyle Arts Pavilion a n d Gallery. Here the waterfront park e n c r o a c h e s into the u r b a n e n v i r o n m e n t in t h e form of a c o m m u n i t y park, Bellevue G r e e n (Plate 7.88). The d e s i g n of this p a r k reflects the u r b a n grid. Parking, w h i c h o n c e existed here has b e e n r e l o c a t e d to a b e l o w g r o u n d lot to a l l o w the c r e a t i o n of this park on slab. It c o u l d b e a children's p l a y a r e a next to the rail line with a small off-leash d o g a r e a for t h e elderly p o p u l a t i o n living in the A m b l e s i d e n e i g h b o u r h o o d . Bellevue G r e e n e n h a n c e s views from the c o m m u n i t y to The A r g y l e Arts Pavilion a n d G a l l e r y a n d  Plate 7.88 Park entrances at 17th a n d 16th Streets  The  Concept  to the o c e a n , reinforcing t h e integration of the park with the c o m m u n i t y . The e n t r a n c e to t h e park a t 16th Street is of a different c h a r a c t e r (Plate 7.88). A g g r e g a t e p a v e r s set in grass a r e in contrast to the more f o r m a l e n t r a n c e s a t 17th a n d 15th Streets. These pavers invite a person to m o v e off t h e w a l k w a y a n d explore the grass a n d v e g e t a t e d a r e a s of the park. The e n t r a n c e to t h e park a t 15th Street is also a pedestrian only e n t r a n c e . Existing turning lanes o n this m a i n a c c e s s r o a d to the waterfront f r o m t h e c o m m u n i t y p r e v e n t w i d e n i n g the sidewalk. Low glass walls a n d o r n a m e n t a l grasses, trees a n d w i n d v a n e s f r a m e the e n t r a n c e (Plate 7.89).  Plate 7.89 Park entrance at 15th Street  The 14th Street e n t r a n c e remains similar to w h a t exists n o w e x c e p t for a c h a n g e in traffic c i r c u l a t i o n . The sidewalks a l o n g N t h Street, b e t w e e n B e l l e v u e A v e n u e a n d M a r i n e Drive h a v e b e e n w i d e n e d to 2 meters, like those o n 17th Street, to c r e a t e a g r a n d sense of entry w h e n a p p r o a c h i n g the park a n d to c r e a t e m o r e opportunity for sidewalk s e a t i n g . A sidewalk has b e e n c r e a t e d o n the east side of 18th Street for p e d e s t r i a n s to a c c e s s N a v v y J a c k House a n d the western e d g e of The A r g y l e W a t e r f r o n t Park (Plate 7.90). Though the 17th, 16th a n d 15th Street e n t r a n c e s to Argyle Waterfront Park a r e n o w p e d e s t r i a n only, their d e s i g n allows for the p a s s a g e of d e l i v e r y a n d e m e r g e n c y v e h i c l e s w h e n necessary.  The  7.6  Concept  The Urban Edge  A vibrant c o m p l i m e n t a r y urban e d g e is essential to the s u c c e s s of The Argyle Waterfront Park. Currently the A m b l e s i d e c o m m e r c i a l a r e a lacks e n e r g y a n d m a n y stores h a v e b e e n f o r c e d to c l o s e l e a v i n g e m p t y shops a l o n g the m a i n s h o p p i n g streets of Marine Drive a n d Bellevue A v e n u e . As m e n t i o n e d previously, in the section Conditions of Context, the A m b l e s i d e c o m m e r c i a l a r e a has s o m e m i x e d c o m m e r c i a l / h i g h density residential buildings a n d the District of West V a n c o u v e r is e n c o u r a g i n g more. A g r e a t e r p o p u l a t i o n living within the c o m m e r c i a l district w o u l d h e l p the overall h e a l t h of this a r e a . N e w c o m m e r c i a l / r e s i d e n t i a l buildings h a v e b e e n a d d e d to the c o m m e r c i a l district in this c o n c e p t u a l design for The A r g y l e Waterfront Park in o r d e r to illustrate s o m e suggestions for improving the h e a l t h of this a r e a . Two of t h e c o m m e r c i a l / residential buildings are p r o p o s e d for the lots b e t w e e n 16th a n d 17th Streets (Plate 7.90), a n a r e a currently o c c u p i e d b y a b i g b o x S a f e w a y a n d large parking lot. Two other buildings are p r o p o s e d for currently v a c a n t lots a t the c o r n e r of Bellevue A v e n u e a n d N t h Street (Plate 7.90). These buildings a r e set b a c k from t h e Street, increasing sidewalk widths a n d also c r e a t i n g small s o u t h - f a c i n g s e m i - e n c l o s e d s p a c e s that c a n b e u s e d for o u t d o o r seating. It is p r o p o s e d that all r e d e v e l o p m e n t in this a r e a i n c r e a s e the s e t - b a c k from t h e street e n o u g h to c r e a t e areas for o u t d o o r seating, particularly s e a t i n g that allows views to the Argyle Waterfront Park a n d to the o c e a n b e y o n d .  The  —- —  •Hi  I I 1 If  Ambteiide lone  Concept  Ambleside tone  Harmony  •ten*  e Avenue  ]  •  The Solar Slopes  lawson Creek Sanctuary The Great Lawn  Argyle Arts Pavilion and Gallery  John Lawson Pier  The Vftnd Garden The Edge Performance Praia  The Galleria  The Sand Theatre The Ferry Building Gallery, Garden and Patio  Ambleside Landing Pier  Plate 145. Ambleside commercial district, conceptual plan  The  Concept  As m e n t i o n e d in the previous s e c t i o n , sidewalk widths o n 14th a n d 17th Streets b e t w e e n M a r i n e Drive a n d Bellevue A v e n u e h a v e b e e n i n c r e a s e d from 1.5 to 4.0 meters. W h e r e possible other street widths h a v e b e e n i n c r e a s e d from 1.5 to 2.0 meters. To i m p r o v e p e d e s t r i a n a c c e s s to The Argyle W a t e r f r o n t Park, the s i d e w a l k o n the south side of Bellevue A v e n u e b e t w e e n 15th a n d 16th Streets has b e e n e x t e n d e d easterly to t h e 15th Street park e n t r a n c e ( P l a t e 7.91). The s i d e w a l k w i d t h at the e n t r a n c e to The E d g e P e r f o r m a n c e P l a z a a n d W i n d G a r d e n is 3.5 meters. A p e d e s t r i a n drop-off a r e a is l o c a t e d w e s t of t h e e n t r a n c e (Plate 7.91). Similarly the sidewalk w i d t h at the e n t r a n c e to The Arts Paviion a n d G a l l e r y has b e e n i n c r e a s e d to 3.5 meters. A drop-off a r e a is l o c a t e d to the east of t h e e n t r a n c e (Plate 7.92).  The  Concept  Turning lanes at the intersection of 16th Street with Bellevue A v e n u e facilitate t h e m o v e m e n t of v e h i c u l a r traffic entering the parking u n d e r Bellevue G r e e n (Plate 7.92). The p e d e s t r i a n exit a n d e n t r a n c e to the u n d e r g r o u n d p a r k i n g is l o c a t e d o n t h e east side of the extension of 17th Street into the park. Parking has b e e n r e d u c e d in the a r e a of the p r o p o s e d park by the r e m o v a l of A r g y l e A v e n u e . S o m e of this parking has b e e n r e l o c a t e d to the g r o u n d floor of t h e p r o p o s e d n e w H a r m o n y Arts Festival o f f i c e w h i c h c o u l d b e c o n s t r u c t e d o n t h e site of the existing M a s o n i c Hall, a short d i s t a n c e west from the intersection of 17th Street a n d Bellevue A v e n u e . The p a l e t t e of materials c h o s e n for this b u i l d i n g should c o m p l e m e n t that of the A r g y l e Arts Pavilion a n d Gallery as t h e y a r e linked culturally a n d visibly. Plates 7.93 a n d 7.94 show a p r e c e d e n t for t h e a r c h i t e c t u r a l style of the building. It is p r o p o s e d that public transportation p r o v i d e the primary a c c e s s to t h e Argyle Waterfront Park, e n c o u r a g i n g pedestrians to w a l k through t h e c o m m e r c i a l district o n their w a y to the park, thus i n c r e a s i n g t h e v i b r a n c y of the c o m m e r c i a l district. Plate 7.93 Winterthur Museum of Art extension, Switzerland, 1995  Pedestrian c i r c u l a t i o n within t h e A m b l e s i d e c o m m e r c i a l a r e a c a n also b e e n h a n c e d by redesigning t h e existing segments of A m b l e s i d e L a n e (Plate 7.90) to m a k e t h e m more p e d e s t r i a n friendly. The e n t r a n c e s to s o m e c o m m e r c i a l enterprises a r e currently f o u n d in the lane. Trees c o u l d b e p l a n t e d a n d s h o p owners e n c o u r a g e d to put e n t r a n c e s to their businesses in t h e l a n e . The m i x e d c o m m e r c i a l / r e s i d e n t i a l d e v e l o p m e n t p r o p o s e d for the existing S a f e w a y p r o p e r t y i n c o r p o r a t e s A m b l e s i d e L a n e into its design (Plate 7.90). Bellevue A v e n u e is o f t e n very w i n d y d u e to its l o c a t i o n n e a r the o c e a n . The lanes p r o v i d e shelter from the w i n d . It is also p r o p o s e d that the big b l o c k f a b r i c of this c o m m e r c i a l a r e a b e b r o k e n u p with m o r e p e d e s t r i a n p a s s a g e w a y s b e t w e e n M a r i n e Drive a n d A m b l e s i d e Lane. S o m e currently exist but more a r e s u g g e s t e d . Increasing the vitality of this built e d g e is invaluable to the f u n c t i o n i n g of the A r g y l e Waterfront Park. It is h o p e d that this, t o g e t h e r with s t r e n g t h e n e d spatial a n d visual c o n n e c t i o n s b e t w e e n t h e park a n d the A m b l e s i d e n e i g h b o u r h o o d will seamlessly link the t w o a l o n g this u r b a n e d g e .  Plate 7.94 G a r a g e hidden behind glass panels  Final Thoughts  8.  Final Thoughts  The c o n c e p t u a l d e s i g n d e v e l o p e d for the Argyle Waterfront Park is a sensitive response to t h e e s s e n c e of this o c e a n e d g e . A l t h o u g h the d e s i g n w a s d e v e l o p e d t h r o u g h a very p e r s o n a l e x p e r i e n c e of this e d g e , m a n y of t h e c o n c e p t u a l i d e a s p r e s e n t e d are similar to those d e v e l o p e d t h r o u g h a p r o c e s s of c o m m u n i t y c o n s u l t a t i o n (West V a n c o u v e r Waterfront Directions Study). C l e a r l y t h e e x p e r i e n c e of a n o c e a n e d g e , the feelings of p e o p l e w h o a r e d r a w n t o this e d g e a n d their responses to these feelings are similar. To m a k e t h e d e s i g n for this o c e a n e d g e truly sustainable, the design process must involve a p u b l i c process to c u l t i v a t e a sense of ownership a n d pride. In order for the p u b l i c p r o c e s s to b e true to the t a c t i l e a n d rich e x p e r i e n c e of this o c e a n e d g e , the p r o p o s e d d e s i g n must stimulate i m a g i n a t i v e thinking a n d the willingness to e x p e r i m e n t . The design for the park a t t e m p t s to r e v e a l the tactile a n d e v e r y - c h a n g i n g n a t u r e of the l a n d , o c e a n a n d air interface. The Argyle Waterfront Park is a u t h e n t i c to t o d a y , yet will b e a p a l e t t e that will a l l o w e x p e r i m e n t a t i o n a n d c h a n g e with time. The park will h a v e a quality of stable i m p e r m a n e n c e , like t h e e d g e w h e r e it is f o u n d .  101  References  References A l e x a n d e r , Don. P l a c e : Repairing the Fabric of H u m a n Experience. V a n c o u v e r : unpublished manuscript, 2004. Angelillo, Antonio, editor. A l v a r o Siza, Writings o n A r c h i t e c t u r e . Milan: Skira, 1997. Atkinson, Scott, editor. Patios a n d Decks. California: Sunset Publishing C o r p o r a t i o n , 1994. Brookes, J o h n . G a r d e n Masterclass. L o n d o n : Dorling Kindersley Limited, 2002. C o o p e r , G u y a n d G o r d o n Taylor. G a r d e n s for the Future. N e w York: The M o n a c e l l i Press, 2000. C o o p e r , G u y a n d G o r d o n Taylor. Paradise Transformed. N e w York: The M o n a c e l l i Press, 1996. Darke, Rick. The C o l o r E n c y c l o p e d i a of O r n a m e n t a l Grasses. Portland: Timber Press, 1999. Dexter, O x a n a . 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