carlyn yandle
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Home isn't someone else's investment unit

9/17/2024

 
New modular building blocks create a visual for more humane density
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I blame my dream-home fantasies on that OG influencer Martha Stewart.
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When the thick, slick Martha Stewart Living was queen of the magazine racks I was there for the Crafts: the rustic doorstop animals made of French linen tea towels; the velvet lavender sachets for drawers and for gifts. Soon I was sucked into the glossy paper vortex of step-by-step tableaux of Martha — in cropped jeans and crisp Oxford shirt — engaged in various Good Things like washing her paned windows using vinegar from a glass sprayer or sweeping her freshly-painted porch with a birch-twig broom. I was led to believe that people who weren’t already trained pastry chefs or architects could create the Halloween gingerbread haunted mansion, and that one day I too would have a fireplace mantle to display handmade snowglobes nestled between mason jars of glittered cedar boughs dangling with tiny crocheted snowflakes. Never mind that my wreath of pinecones tied with tartan ribbon and tacked to my apartment door wasn’t adding any rustic Christmas vibes to the purple-and-teal common hallways. This was all temporary.
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By the time Martha finished doing her five months for fraud, I was half way through 20 years in the same apartment, engaged in the more practical project of trying to live a creative life in a small space (sprawling in comparison to the majority of new builds in Vancouver). I ended up writing a weekly newspaper column on the subject and even partnered in a home re-vamp service that funded four years of art school. Dwelling design remains one of my Special Topics so when I heard first thing this morning (at the time of this writing) that the provincial government had released some free modular plans for small-scale multi-unit housing, I jumped onto the site for a look-see.
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Streetscape concept of multi-unit integration with single-family homes, Standardized Housing Catalogue, BC Ministry of Housing
Because when it comes to affordable housing in this town, things can’t get worse (barring, of course, the imminent earthquake a.k.a. “The Big One”). According to one report, last year Vancouver’s median home price was more than 12 times the median household income, making it the third most expensive housing market in 94 cities around the world. Many of the investment units in Vancouver’s soaring glass towers are now languishing on the market, because even if they were affordable, “home” does not conjure up visions of 35 floors of stacked 500-square-foot rectangles with one wall for windows and no outdoor space.
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The customizable building blocks are an attempt to provide an option to this modern-day warehousing of humans, a step toward addressing the missing middle between standalone houses and condo towers. They were developed following recent zoning changes that allow three or four units on the standard city lot, to the horrors of NIMBY owners in those single-family-home neighbourhoods and to cheers from developers. To curb design and construction costs and expedite the permitting process, the limited options of modular blocks are basic. One shows two bedrooms with a shared bathroom. The common-area block shows a surface that is both dining table and kitchen island with sink, with the rest of the kitchen along one wall. No balconies are indicated and there are not a lot of windows. Every unit shows stairs.
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Placement options on various lot sizes, from the Standardized Housing Catalogue, BC Ministry of Housing
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Common space options, Standardized Housing Catalogue, BC Ministry of Housing
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Multi-family dwellings on a standard city lot, Standardized Housing Catalogue
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On the upside, they are connected to the earth and integrate into established communities. They open up the possibility of having a baby, aging in place, living with or beside other relatives or families of choice. They are the kind of home that might incline a crafty type to collect pinecones from the mature trees in those longstanding neighbourhoods and glue-gun a wreath to hang on the front door. 
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It’s a Good Thing.

Playing with mud -- and new/old ideas 

5/22/2015

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PictureWhere it all began: The Mud Girls retreat that sowed the seed for new/old building modes.
Playing with mainly found materials, and whenever possible with other people, offers me the chance to learn about properties and potential of those throw-away materials as well as about collaborative problem-solving and new/old modes of social interaction. I try not to overthink that link between materials and the inherent social nature of our species but just go with the urge to make the connections.

Working with cob – natural concrete that uses clay, sand and straw – provides a glimpse of an alternative to the inevitable glass-tower existence, the reliance on fossil fuels and the hazardous extraction and distribution process.

There’s nothing like bunker fuel hitting the local beaches or the growing Pacific trash vortex not so far away from those freighters to inspire alternatives. The solutions to these problems require alternative thinking, which depends on playing with ideas.
PictureExcavating as exercise: Digging out a 60-inch diameter, 18-inch-deep hole. (Carlyn Yandle photo)
I got that first glimpse in a two-week cob-house-building workshop in the forest atop a Gulf Island, just days after I closed the door on my office job at a city newspaper. It was a tough adjustment, moving from a hierarchical corporate media culture to a loose, collaborative course-movement. 

By day I hauled boulders and danced the sand into the clay with the Mud Girls, the kind of people I had never cross paths with in a Vancouver editorial department. By night I slept alone in a tent on a mossy outcrop. 

PictureDrainage is essential for natural clay-building on the Wet Coast. (Carlyn Yandle photo)
How was it? my friends asked after I returned. "Wild" was the only way I could describe this foreign experience. 

Ten years later, I’ve been aching to dig my hands back into that feeling of the possibility of building something out of nothing, with others, testing our physical strength and forging connections with others who have a line on a local source for our materials.

The project is a cob oven, on a Gulf Island. The goal is to bake a pizza by the end of the summer.

Phase 1 is complete: creating a solid foundation for the oven. This is essential for protecting the cob from the Wet Coast climate.

PictureTeach your children well: Hands-on learning that building materials are as close as under foot. (Carlyn Yandle photo)
The first two days were all about excavation. I hacked through thick salal root and hauled out bucket after bucket of compressed silt aggregate. The kids were eager to get into the act of shoveling the dirt onto the screen, then pouring water through the screen until just the rocks remained. I laid down some found French drain then back-filled with the gravel and stones until the site was pretty much level.

Next up: Building a dry-stack stone foundation – with a little help from my friends. Stay tuned.

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Embedded labour: A solid foundation for the next phase. (Carlyn Yandle photo)
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One bit, two bits, green bits, black bits

3/13/2015

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PictureToybits (green) - made from broken toys (Carlyn Yandle photo)
This may be the third or fourth column/post I've written that could come under the headline, 'Overthinking will be the death of me.' There is definitely a book in there somewhere about the power of overthinking to sabotage the creative process.

My latest overthinking sabotage occurred as I was experimenting with binding up broken toy bits (consciously not overthinking why).

I was taking care of my sister's kids while idly binding one green toy remnant to another. At some point, the curious object appeared to be done. And it was good.

It's an intriguing object but when photographed is also a visually absorbing abstract. It has richness in its ability to conflate the second and third dimensions. It is heavy with cultural reference yet lightly humorous.

I was onto something.

PictureToybits (black) - final version (Carlyn Yandle photo)
After a couple of hours I quit because it clearly would have no logical endpoint. But if there's one thing I've learned about the creative process it's to let the failures hang around and stink up the joint for a while. In my experience, the only way to get to the source of the stench is to keep it in the periphery. And a couple of days later it came to me: I was so hell-bent on the outcome I had completely negated the making, which, when referring back to the green toy-bits cluster, was the essence of the thing: play. 

I took it all apart, then started over, finding the fit between one bit to another bit, then adding one bit where it fit. (Maybe the book should be in Dr. Seuss language).

It had a beginning and an end, and the entire process was an adventure without a map. The result is a sculptural object with implied power that appears as part engine, part vehicle, part robot. It has composition, balance, architecture, intriguing sight lines and varying perspectives. It has something to tell me: Your instincts are good, keep going.

From the junk of life emerges new life.

You can see it in the above photo; it's a mess. Even as I was binding it I thought, This is not working, this is not working. Why is this not working? It has no balance, no composition. it is artless. And it was a chore from the get-go.
PictureToybits (black): first attempt (Carlyn Yandle photo)
So, like every creative I know,  the ol' mental processor starting whirring away in the background, rolling over this concept. Friends and I talk about this slightly obsessive stage when developing a new work. You're still functional in your daily routine but that whirring puts you in a slightly distracted state. It's sort of like falling in love; there's always something there to remind you of that growing passion. And when I fall in love with an idea, I fall hard. I'm consumed by the topic like the Paul Rudd character in The 40-Year-Old Virgin who can't stop talking about Amy or The Big Lebowski's John Goodman character who links any conversation to his days in 'Nam.

I've been seeing toy-bits inspiration everywhere, including in a car column in the morning newspaper. The picture of an engine reminded me of the toy-bits clusters and suddenly I was shoving aside breakfast dishes and breakfasting people and dumping my hoard of broken toys onto the table.

I will make that engine-y thing, I said. And therein lies the fatal flaw.

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Everything I know about design I learned in newspapers

2/6/2015

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One of the biggest lessons learned from a career in newspaper journalism was, surprisingly, the difference between decoration and design. It began when I built up basic layout skills using paper dummies, reduction wheel, metal pica-pole (also good for gouging into office drywall when it was all Just. Not. Working), non-repo pen and something my favourite production foreman coined 'The Yandleometer' — a sort of parallax-viewfinder deal I improvised. 

When I finally got the gist of that, we were required to give up the physical tools and wrestle with clumsy emerging computer design programs. But this wasn't the big lesson part; that came when I truly understood that laying out a compelling page of stories and photos was function first, form second. And if that form included a bunch of clip-art snowflakes or needless drop shadows, those had to go. The scanning eye needs white space over decoration.

Good design requires a good editor, but too much editing can kill the soul of the visual field, whether that's a newspaper double-spread (I'm dusting off all the ol' industry relic terms here) or a building.
PictureThe staircase at Les Haras in Strasbourg is functional sculpture. (Photo from sncf.com)
The editor likes her windows clean of pouffy valances and floors free of scatter-rug litter, but she doesn't want her voice to echo in her interior space, either. There's a fine line between the functional beauty of the spare Bauhaus-based International Style and objects that are designed primarily to optimize mass-production.

The residual of a near-dead layout skill is that I'm constantly second-guessing structures and spaces with a specific line of questions: Too much? Too little? How much is design and how much is decoration?

I see this image of the astonishing staircase at the Les Haras brasserie in Strasbourg, designed by Jouin Manku Studios, and I wonder, is all that strapping structural? If not, what would it look like with the superfluous strapping removed?

PictureThe new arts centre on Lasqueti Island, shingling in progress. (Photo by Carlyn Yandle)
But, in the end, is less really more?

At first glance this Gulf Island community building is something out of a Bavarian folktale, more in line with the Volkisch movement that celebrates the hand of the craftsperson. 

Yet that decorative shingling is sound design in the rainforest vicinity, and uses locally-sourced renewable materials. The two planks flanking the window are structural components, too.  Above all, the design of the shingling hold the function of reflecting the mountainous region rising out of the sea, and the kind of creative activity that will take place at this new arts centre, while the planks are twin silhouettes of the tree trunk they came from.

The 19th Century English artist/designer/social activist William Morris would have loved it. He would have appreciated this collaborative work that integrates architecture with art and in so doing eliminates any boundary between form and function.

It's a happy, slightly chaotic dwelling-object, quite the opposite of the Bauhaus "minimal dwelling" ideal, but would it benefit from an editing?

No freakin' way.

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Memorable designs discovered on road trip

8/14/2014

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PictureCarlyn Yandle photo
We were a bit of a spectacle, using survivalist technology outside our tent wedged between the humming, air-conditioned RVs,  but we were aching to use our car-camping trip to finally test the BioLite.

And it was good. (See 26-second YouTube review, below.)

The Sputnik-esque stove converts the energy of any post-disaster carbon-based material  — paper, leaves, cardboard, grass, wood shards — into a USB-port power source while boiling water in minutes. Yes, you can have your coffee and call home too, thanks to an  ingenious copper conductor-fan system that kicks in when heated and then turbo-charges the tiny fire into a flame as good as if you're cooking with gas.

The brilliance of this design was not lost on residents of Lower Manhattan who were plunged into cold, damp darkness for days after Hurricane Sandy struck in October 2012. 

The young Brooklyn inventors rushed  to the rescue with stoves for stranded people who needed a hot drink, social interaction, a way to call family. Emergency services didn't take too kindly to open fires during the chaos and so the BioLites were banned.

We first spotted the gizmo a month after the area was ravaged, in a New York Times article and made it our Christmas present. Good design endures; now Mountain Equipment Co-op carries it.
PictureCarlyn Yandle photo
And bad design disappears, or makes the bad design lists. That's why you don't see lawn darts anymore. But old, ingenious design isn't always readily apparent until you really feel it, like the moment we walked into a century-old log cabin and suddenly forgot about the blistering South Saskatchewan heat. Thick walls of almost petrified dovetailed wood and mortar were doing the same trick as energy-squandering air conditioners back at the campsite, except without the drone that was keeping us awake at night.

The rough-hewn angled dovetail joinery, used in various forms in traditional building around the world, succeeds in all aspects of good design. This settler cabin used local, renewable materials, and simple tools and easily-learned methods. The undeniable beauty of those checked cross-sections of silvered lumber, enhanced by age and the elements, is made possible through the collective creative process.

PictureCarlyn Yandle photo
Good design answers a need. And during a heatwave, that need is drinking water. We spent much of our trip looking for a place to fill up our water bottles but it seems that in the rural areas at least, most people still buy the 48-pack of single-use water bottles at the ubiquitous Co-op stores. There oughta be a law to provide ample drinking water in public areas, but I digress.

This beauty (right) in the Saskatoon airport departure lounge does the trick. A motion sensor triggers the water to flow while a counter shows how many plastic bottles were not used in the process. 



PictureCarlyn Yandle photo
At least the young trees were getting hydrated; in Moose Jaw, a bagged water system seemed to be winning the war against the elements. The surrounding corten steel framework serves as a rain-friendly grill featuring historically significant images of bison/buffalo, trunk protection as the tree grows, and bike lock-up. What's not to love?

PictureCarlyn Yandle photo
The one deadly design that haunts me still is the private automobile, a lethal projectile from the point of view of the native large grasshoppers, butterflies and dragonflies (and at least one starling and one small rodent). We tried to avoid looking at the critter mash on the grill at the end of each day but we have their blood on our hands. Their little corpses are reminders that the car is not designed with nature in mind. Next time, bike camping, where RVs fear to tread.



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deadhead alive with ideas of our watery past, uncertain future

6/27/2014

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PictureLike moths to a light, paddleboarders hover around Deadhead. (Carlyn Yandle photo)
On one rambling two-hour bike tour of False Creek Sunday, a friend and I cruised by the Dragonboat festival, the jazz festival and the food truck festival. Granville Island was foody festive. Kits Beach was body-festive. When everything is awesome we found some  visual relief in the form of Deadhead, a chaotic sort of pirate ship/treehouse combo straight out of Waterworld.

Except this floating sculpture is not a big-budget flop. In fact, this curious floating object that is currently moored at the Heritage Marina in front of the Vancouver Maritime Museum makes use of wood salvaged by Cedric Bomford, with his retired engineer father Jim Bomford and artist brother Nathan Bomford.

PictureDeadwood under construction. Photo: Maritime Museum
Deadhead is anti-slick, a welcome switch from the Disney and Celebrity Cruise floating cities that are part of the local summer scene. 
The mash-up of spiral stairs, lookouts and ramps make this a magnet for curious kids, and a good introduction into what public art can look like.

An open house (or open barge) is slated for next Saturday (July 5), 2-5 p.m. with sig­nal flag work­shops running at  2, 2:30, 3, and 3:30 pm
Sat­ur­day July 5, in Her­itage Har­bour and at the Van­cou­ver Mar­itime Museum, just off the south side of the Burrard Bridge — a good excuse to use the new bike lane).

More photos showing Deadwood in process here.

PictureView from the crowsnest. (Photo from http://deadhead.othersights.ca/)
Just when I was sure every last skilled carpenter has been sucked up north to Kitimat, or further, to Fort McMoney, it's with some relief to see local builders constructing something for the purpose of art.

I love a sculpture that is both playful and foreboding. It speaks of the imagination of kids and the hands of skilled makers with means, but it also evokes our shared history of makeshift dwellings in the watery part of the world, and a climate-changed future we'd rather not imagine.

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    Cross-posted at
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