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Urban design lesson for Vancouver: Life in full colour blooms in car-free streets

12/10/2016

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The steps of the Teatro Juarez transform by day and night for the benefit of the walking public. (Carlyn Yandle photo)
A month after I landed in Guanajuato, Mexico it finally dawned on me: there are no traffic lights in this bustling city. You'd think that would be obvious from the outset but those kinds of details are not readily apparent when you're gawking at a guy hoofing it down the narrow city streets with a side of raw beef on his shoulders, or a teenage girl unfurling her frothy pink ballgown from a truck parked at the end of the pedestrian zone.
Not only are there no traffic lights, there are no pedestrian crossing signals or any restrictions on the walking public. The downtown is teeming with people but with such narrow, winding vehicle thoroughfares, topas (speed bumps) and gloriettas (large versions of Vancouver's "traffic-calming circles") you learn quickly to go with the slow flow. Pedestrians zig-zag with ease across streets, almost brushing the rear of a slow-passing car so the vehicle behind doesn't have to shift down to super-slow. This is not a town to venture into if you're a driver in a hurry. Cruising speed is such that you could start a conversation with people on the sidewalk. Road rage is inconceivable.

So how are all the goods and services delivered? Most of that happens under the plazas and winding streets in old floodwater-diverting tunnels. Parking lots are also mostly situated under or outside the city centre and on-street parking is a rarity. There are no filthy downtown back alleys dedicated to dumpsters and delivery trucks. No urban blight of parked cars flanking both sides of every street.
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A narrow 'calle' is transformed into a weekend-long wine-tasting venue. (Carlyn Yandle photo)

As a result, the major calles (streets) are in constant transformation, a jumble of bakeries, cafes and newsstands in the morning, market stalls in the afternoon, and music-filled evenings and special events like a recent wine-tasting weekend along a red carpet through to the historical centre. The previous weekend saw a chalk-mural draw-in where local art students were down on their knees, working their ideas into the surface near that morning's bike race finish line.

These are the possibilities for streets where pedestrians come first.
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Art students take to the (permanent) car-free streets. (Carlyn Yandle and photo)
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Narrow spaces invite humane activity. (Carlyn Yandle photo)
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Street musicians head down to the outdoor restaurants. (Carlyn Yandle photo)
I fail to see the downside in squeezing out cars in heavily populated areas. In contrast, pricey Vancouver's sketchy, rat-infested downtown alleys and acres of meter parking look like a colossal waste of potential commercial and cultural space. How impossible would it be to conceal dumpsters in locked building bays and restrict garbage pickup to, say, 2 a.m., and then entice tiendas (street vendors) and the mom-and-pop shops that have been all but banished to the fringes due to high rents?

The more I wander and wade through all this colourful human activity the more I resent the privileged position of the private motor vehicle in North American urban "planning." Cities in their relative infancy like Vancouver could learn a lot from organic urban centres like Guanajuato that came into their own before there were cars.

​My hometown is already teetering on the edge of becoming a boring luxury resort city; a bold directive towards people and away from the private motor vehicle could pull us back from that precipice.
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A religious procession is part of the passing cultural parade. (Carlyn Yandle photo)
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Vehicle thoroughfares and parking areas are mostly on the fringes and below the city. (Carlyn Yandle photo)
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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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Getting ready to scream 'Woo!' with the rest of you

9/13/2013

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You can thank Europeans’ dwindling Christian faith for a sensory bombardment that's taking over Europe. The poor attendance at all the churches and cathedrals has been a boon to a new totally immersive art-architecture experience of sound and image, artist-architect Francois Wunschel said in a lecture at Emily Carr University Wednesday night, while fellow Frenchman musician Fernando Favier manipulated the audio. 
PictureFrom left: Pierre Schneider, in front of a scaffolding support; Fernando Favier and Francois Wunschel.
All these old, underused stone edifices became opportunities to develop new forms of public engagement, said Wunschel. Pierre Schneider, his colleague at the Paris-based 1024 Architecture firm, shared with the audience some video examples: building facades visually distort and morph into faces; public squares transform into pulsating spaces of light and sound, all controlled by simple devices like a public microphone or a joystick.

Using MadMapping — AutoCad-like building-design software that overlays the spaces on actual architecture — Wunschel and Schneider are innovators in the growing artform that turns hard surfaces into an embodied experience that has become a signature European urban festival experience.

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Tonight Vancouverites will get a (free) taste of all that at 10 p.m., behind Emily Carr’s digital media building on Great Northern Way, when the Paris team joins forces with some local artists as they premiere Live/Work, a 10-metre cube of scaffolding that promises to be a “manifestation of interdisciplinarity, collaboration and an exploration of the contemporary landscape in relation to changing cultural and economic conditions.” Gotta love that artspeak. (Translation: A bombardment of lights and sound that will have the locals yelling, “Woooooo!”)

Hypercube is all part of the New Forms Festival 13.

Below: Two videos of distinctive, immersive physical experience of sound, light: A voice-activated setup allows the public to animate a building in Lyons, France. At bottom:  Transporting a dance club crowd through light and sound.
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How not to pass out While Painting

9/6/2013

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I could never understand why the armies of construction workers in this town would head for the Wendy’s or Burger King over a nutritious, fresh soup and salad next door. That was before I started spending long days under a respirator spraypainting in a cavern of concrete. When you’re involved in continuous sweaty, labourious activity, you’re not about to squander your one meal break waiting around for little bits of things to be arranged on a plate. This is no time to pick your way through a Whole Foods buffet bar, then line up at the cashier. You need to mainline those big fatty, sugary, caffeinated calories. Now.
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A daunting, dark space takes on new life as a geometric colour field.
PictureMy purple man's business shirt has it all covered.
This is just one of the ah-ha moments that came to me during Phase I of the Parkade Painting project. Another big learning moment: carbon dioxide can wreak havoc with the logic centre of the brain, which in retrospect explains a lot of stoopid mistakes I made in the process of turning a wide expanse of concrete into a geometric colour field, like forgetting pattern choices and mixing up colours. Turns out that carbon dioxide builds up in the mask over time so you — and by you I mean me here — have to come up for real, non-fumey air at least once an hour.  I should have solicited advice from my encaustic-painting friends on this one before I got to the point where I was staggering around, forgetting the whole purpose of spending these last summery days in carcinogenic clouds of propellants and other nasty chemicals I can’t pronounce.

I like the risk of taking on a daunting project of a scale not normally tackled by a five-foot-two female but I’m risk-averse to exposing myself to a toxic environment so except for the no-breaks slip-up, I’m serious about suiting up for the task at hand. In this case that means protecting the largest organ — the skin — from exposure. Here, the Smart Girl’s Guide to Spraypainting in the Summertime:

1. Cover it all. If you’re of my stature you will search but never find Carhartt coveralls that fit your female frame, and Home Depot’s one-size-fits-all disposable painting jumpsuit just doesn’t have the majority of the people who do home painting (women) in mind. You will have to improvise. I wear a (particular) man’s business shirt over a workout top and loose cotton pants. The cuffs and top-buttoned collar has it covered, plus the breast pocket is perfect for storing gloves. All this goes over light cotton pants and runners.

PictureOne day of painting shows particulate trapped in a cartridge filter.

2. Speaking of gloves, I like the snug, waterproof Watson gardening gloves, because you won’t find painting gloves in your size at Home Depot. And disposable gloves and painter's tape are a bad mix.

3. Respirator and Safety glasses. These should be viewed as a two-part must-have unit. Silly dust masks are for chumps. We like our brain cells. If you can smell the chemicals through the mask, it’s not working, but that’s not to stay that the cartridge is not done. It’s hard to predict when a cartridge should be replaced but I switch out the filter pads as soon as they look less than pristine and change the cartridges as I'm psyching myself up to embark on one of these harebrained art schemes, which is about once a year.

4. Head scarf. I tie it snug and low around the forehead so it meets the top of my glasses. Spraypainted hair is nasty.

Now onto Phase II....

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Only artist-quality spraypaint can handle the pits and scars of industrial concrete walls.
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More strange bedfellows: quilts and graffiti

8/16/2013

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This is my new favourite colour box, a delicious array of cans of Montana spraypaint. All packed up to take to my largest quilt project to date.

Now I finally get my chance to do what I've been dreaming of for years:  blanketing a big, blank white concrete wall with a colourful quilt of triangles — with permission and for the long term, for a change.  (My previous secret adventures in unauthorized craft-tagging in the public sphere were painted out within weeks.)

How a quilt will read when spraypainted on a concrete wall I have no idea. I've googled images using 'quilt' and 'graffiti' and 'mural' and haven't found any spraypainted quilts — at least, none that were created specifically with quilts in mind.

PictureQuilts composed of freeform blocks and vibrant colours inspire.
My main challenge, besides enduring working under a respirator for about the same number of hours it takes me to make a queen-sized quilt, is ensuring that the field of bright colours and simple geometry doesn't scream 'daycare centre. ' The colour and pattern choices make all the difference between creating a one-dimensional jumble of happy triangles with what I'm really trying to achieve here: a three-dimensional appearance and a vibrating, discordant colourway, some element of surprise, a reason for the eye to take a lingering second look.

I'll get the 'why' part overwith here: This media mash-up of the visual of tactile, comforting quilts and the harsh process of spraypainting concrete infrastructure stems from my compulsion to visually link the personal with the public, the domestic with the industrial, the feminine with the masculine. Enough said.

PictureOne risk in translating quilts into spraypaint is losing textural and pattern details.
But the excitement (mixed with a little fear) about this undertaking is in the risk involved. 

Unlike putting together a quilt, which is pretty much pre-planned (all the fun is in choosing the colour and pattern and the rest is pretty much mechanical, which is why so many quilts are started but abandoned), the spraypaint process is additive and more open-ended. It could all go sideways. Or it could emerge as something entirely unexpected and new. 

PictureOne of several of my early painting sketches for the project.
Hopefully this will turn out to be the best of both distinct worlds: the pleasing geometry and colour-play of quilts and all their cozy references mixed with the hard-surface, large-scale properties of murals made by spraypaint-wielding graffiti artists.

I'm in the thick of it now, relying heavily on my experience making complex quilts to reduce the intimidating scale of the job. It's all about focusing in, taking it on one block at a time, trying not to think about the work ahead. Eating that elephant one bite at a time.

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Day 1: Facing the fear of the unknown, in full respirator.
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Sanitary Doily gets its 15 minutes

5/31/2013

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PictureSanitary Doily, a finalist in the City's sewer-cover competition.
I'm deluded enough to believe I can survive on an art practice in Vancouver but I am under no illusion that my Sanitary Doily will be selected to grace the city's sanitary sewer covers for the next century.

But I couldn't resist designing my tribute to a traditional handmade use-object's chief function: to conceal and pretty-up unsightly evidence of everyday life. Sanitary Doily is a stink bid but damn if it didn't make it as a finalist among the more than 1,000 entries in the City's open competition.

The design borrows from actual patterns, with the swirling core used here to convey a flushing toilet action. (In retrospect, the swirl should be reversed. This is not Australia.) The surrounding negative spaces are reshaped as random water droplets while just managing to maintain pattern integrity. It is intended to be whimsically informative, enhanced by the prominent inclusion of the City of Vancouver into the lacework. It is conceived as an imperfect, pleasing intervention in a manufactured landscape.

Just what two designs will be selected for the storm sewer and sanitary sewer covers will be announced this Saturday afternoon, June 1, at the Ironclad Art Manhole Design Challenge exhibit at the  Interurban Gallery, 1 East Hastings at Carrall Street. (The exhibit of all design entries is now on display through June 8, 1-5 p.m. where you can vote for your favourite, or do that here.)

I did a little fisty air punch when I was notified that Sanitary Doily was not rejected out of hand, mainly because I see it as a small victory in our culture where exquisitely handmade lacework can be found heaped in plastic bins at local thrift shops, at 50 cents each. I know how much dedication is required to make a doily because after decades of practice I can just manage to crochet a crude one. To me, the way we treat those little spiderwebby lace fragments of yore is symbolic of the level of honour and value attributed to that last generation of women who mastered that domestic art form. Not so much.

PictureImage from junk-culture.com
Doilies are just another kind of mark-making, albeit traditionally in the home, so naturally I adore New York City crochet artist Nathan Vincent's crocheted manhole-cover, which makes its mark in the streets. (See more of his manly crocheted objects here.)

Meanwhile, I'm left thinking about what's next for Sanitary Doily. It won't be cast in iron any time soon, but I'm kind of loving the idea of re-injecting it with a little of the original use-object value, like Brooklyn artist Ronda Smith's NYC sewer cover throw pillows. (Or maybe it's just her pitch I love: "Who wants to snuggle up to a SMALL NYC SEWER manhole cover??? I DO!!"

Her series of domestic artworks are photo transfers of actual sewers but thanks to the wonders of Photoshop — and my Photoshop wiz of a brother — I could fudge the whole thing (see below).  

Admittedly, a Sanitary Doily pillow wouldn't have the power of her iconic, beat-up photographed objects. And anyway, I would be more inclined to turn the image into a toilet seat cover.
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Image from Etsy.com
In the end, its actual use is more likely to be another sample of work for this website.

Good enough!
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Maker's mecca in downtown Toronto (for now)

11/9/2012

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A real trip: Toronto's textile-retail district is a visual feast for any kind of maker. (Carlyn Yandle photos)
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Stephen Cruise's 1997 public artwork at Richmond and Spadina. (Carlyn Yandle photo)
Like other Vancouver makers, I mourn the latest closures of stores dedicated to those who work with their hands, hearts and heads, for love or livelihood. Last month it was the needlework shop in my neighbourhood. Dressew is fast becoming the city's last great fabric store standing.

So the first chance I got while in Toronto last week I headed to the mecca for fibre-arts-makers: the Queen/Richmond/Spadina area. This bit of heaven boasts 100-year-old storefronts jam-packed with notions both humble and grand: a button shop — just buttons — next to one devoted to beads or ribbon or wool or shiny embellishments. Across from a luxury textiles boutique is a warehouse crammed with tables heaped with remnants. All in the space of a couple of blocks, and right in the thick of the city.

Yet even Canada's biggest textile retail district appears threatened by encroaching condo towers. (Note the billboard in this photo hawking pre-sale units in the "Fabrik" development on the site of the old King Textiles building.) 

Just when you think you're the last fabric-hound standing there's the World of Threads festival to restore the soul. This multi-venue Oakville-Toronto event showcases staggeringly skillful works embedded with rich ideas and spaces to consider, and to transcend. Despite the diversity of media and methods, a thread runs though this fest: in an all-too-consumptive art world these artists are grateful for the chance to show. The value of the work is not foremost in commericial saleability but is in the maker's connection to the material itself, the often transcendent physical experience of the making, and the connectedness to the pattern of art forms that pass down through families and through every culture.


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Things that make me go ahhhhhh....

5/9/2011

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I was walking out of a Seattle Value Village, defeated (damn you Capitol Hill hipsters) on just another steel-grey Wet Coast day when I was hit by shards of colour on concrete.

Instead of simply preserving the old painted signage from Days of Yore, art interrupts, giving this warehouse-turned-lofts surface something else to say.

I’m sure the combo of individuals and business owners who funded the Monique Mural was encouraged by the graffiti-deterrent factor, especially given that the guys who tackled the wall in the fall of 2008 are local veterans of that medium.

It’s the attractive, disruptive, stimulating, irreverent, pretty and pretty disturbing patterning that had me at hello. Laying it all over the ghost markings of an antiquated economy heightens the hyper-accelerated world viewed in flashes and fragments.

I'd like to see a little more of that kind of fresh, bold reflection here in the Most Livable City in the Universe.


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